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Architect Breaks Down The Evolving Skyscrapers Of New York | Architectural Digest
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hi I'm Michael weister and I've been an
hi I'm Michael weister and I've been an architect in New York City for over 35
architect in New York City for over 35
architect in New York City for over 35 years today we're going to look at some
years today we're going to look at some
years today we're going to look at some of the most common styles of skyscrapers
of the most common styles of skyscrapers
of the most common styles of skyscrapers that make up the New York City skyline
first up the most iconic skyscraper in
first up the most iconic skyscraper in the world the Empire State Building so
the world the Empire State Building so
the world the Empire State Building so what I love about this image is actually
what I love about this image is actually
what I love about this image is actually the crowns the Empire State Building has
the crowns the Empire State Building has
the crowns the Empire State Building has this amazing antenna that sits upon the
this amazing antenna that sits upon the
this amazing antenna that sits upon the Spire that sits upon this stepped
Spire that sits upon this stepped
Spire that sits upon this stepped pyramid which sits upon this Stone crown
pyramid which sits upon this Stone crown
pyramid which sits upon this Stone crown that antenna and Spire were intended to
that antenna and Spire were intended to
that antenna and Spire were intended to have dirigibles or blimps more to them
have dirigibles or blimps more to them
have dirigibles or blimps more to them that actually never worked out and you
that actually never worked out and you
that actually never worked out and you can see the Spire is supported by these
can see the Spire is supported by these
can see the Spire is supported by these four sort of brackets which are actually
four sort of brackets which are actually
four sort of brackets which are actually appear to be Wings making the building
appear to be Wings making the building
appear to be Wings making the building soar and the other thing that's so
soar and the other thing that's so
soar and the other thing that's so remarkable about the Empire State
remarkable about the Empire State
remarkable about the Empire State Building is just its sheer verticality
Building is just its sheer verticality
Building is just its sheer verticality it's super tall it's 102 stories tall
it's super tall it's 102 stories tall
it's super tall it's 102 stories tall but what really strikes is how the
but what really strikes is how the
but what really strikes is how the Architects from two different scales
Architects from two different scales
Architects from two different scales wanted to reinforce that height they
wanted to reinforce that height they
wanted to reinforce that height they created this recessed channel that
created this recessed channel that
created this recessed channel that breaks it up into three different pieces
breaks it up into three different pieces
breaks it up into three different pieces and makes it feel even taller those
and makes it feel even taller those
and makes it feel even taller those spring from the required setbacks down
spring from the required setbacks down
spring from the required setbacks down below so New York City is full of these
below so New York City is full of these
below so New York City is full of these setback towers and the Empire State
setback towers and the Empire State
setback towers and the Empire State Building is the ultimate and tallest
Building is the ultimate and tallest
Building is the ultimate and tallest expression of that kind of building so
expression of that kind of building so
expression of that kind of building so in 1960 New York City introduced a new
in 1960 New York City introduced a new
in 1960 New York City introduced a new set of zoning laws that required tall
set of zoning laws that required tall
set of zoning laws that required tall buildings to set back after a certain
buildings to set back after a certain
buildings to set back after a certain height so they could go up along the
height so they could go up along the
height so they could go up along the street wall and then they had to push
street wall and then they had to push
street wall and then they had to push back and then they could go up again and
back and then they could go up again and
back and then they could go up again and push back again so they never punctured
push back again so they never punctured
push back again so they never punctured the sky exposure plane and the Empire
the sky exposure plane and the Empire
the sky exposure plane and the Empire State Building had to conform to that
State Building had to conform to that
State Building had to conform to that the Empire State building sets back
the Empire State building sets back
the Empire State building sets back after 125 feet above the sidewalk and
after 125 feet above the sidewalk and
after 125 feet above the sidewalk and then later it sets back again because
then later it sets back again because
then later it sets back again because the size of the floor plate was limited
the size of the floor plate was limited
the size of the floor plate was limited by zoning as well and these setback
by zoning as well and these setback
by zoning as well and these setback buildings were known as wedding cake
buildings were known as wedding cake
buildings were known as wedding cake buildings because they had different
buildings because they had different
buildings because they had different tiers like a wedding cake so you could
tiers like a wedding cake so you could
tiers like a wedding cake so you could see examples of the setback tower all
see examples of the setback tower all
see examples of the setback tower all over the city in fact there's a number
over the city in fact there's a number
over the city in fact there's a number of them even in this Photograph right
of them even in this Photograph right
of them even in this Photograph right here you could see the Con Edison
here you could see the Con Edison
here you could see the Con Edison building in the distance and you could
building in the distance and you could
building in the distance and you could see the New York Life building over here
see the New York Life building over here
see the New York Life building over here and in fact you could see more recent
and in fact you could see more recent
and in fact you could see more recent examples like the world financial center
examples like the world financial center
examples like the world financial center here along the Hudson River so let's get
here along the Hudson River so let's get
here along the Hudson River so let's get a closer look at these setbacks and look
a closer look at these setbacks and look
a closer look at these setbacks and look at it in more detail so this is what
at it in more detail so this is what
at it in more detail so this is what what I noticed right away that this
what I noticed right away that this
what I noticed right away that this entire building has a whole motif of
entire building has a whole motif of
entire building has a whole motif of vertical lines the Empire State Building
vertical lines the Empire State Building
vertical lines the Empire State Building is an art deco style building and it has
is an art deco style building and it has
is an art deco style building and it has some flourishes at the top of these
some flourishes at the top of these
some flourishes at the top of these window Bays where you could see
window Bays where you could see
window Bays where you could see repeating motifs and then this is the
repeating motifs and then this is the
repeating motifs and then this is the bottom of that great channel that we saw
bottom of that great channel that we saw
bottom of that great channel that we saw in the long shot so what I really like
in the long shot so what I really like
in the long shot so what I really like about this section of the building at
about this section of the building at
about this section of the building at all these setbacks is that they almost
all these setbacks is that they almost
all these setbacks is that they almost look like separate buildings it's like
look like separate buildings it's like
look like separate buildings it's like The Architects created their own Skyline
The Architects created their own Skyline
The Architects created their own Skyline this appears as a building disappears as
this appears as a building disappears as
this appears as a building disappears as a building and another one each one of
a building and another one each one of
a building and another one each one of these buildings shares a vocabulary but
these buildings shares a vocabulary but
these buildings shares a vocabulary but uses it in a very different way this
uses it in a very different way this
uses it in a very different way this piece here is made up of double Bays of
piece here is made up of double Bays of
piece here is made up of double Bays of windows with a flourish at the top
windows with a flourish at the top
windows with a flourish at the top between the windows and then here it's
between the windows and then here it's
between the windows and then here it's single Bays of Windows and then it turns
single Bays of Windows and then it turns
single Bays of Windows and then it turns the corner and the center piece becomes
the corner and the center piece becomes
the corner and the center piece becomes a double and then here it's doubles
a double and then here it's doubles
a double and then here it's doubles again with the same flourish below so at
again with the same flourish below so at
again with the same flourish below so at first glance it all looks the same but
first glance it all looks the same but
first glance it all looks the same but as you look closer you realize actually
as you look closer you realize actually
as you look closer you realize actually they're all a little different and it
they're all a little different and it
they're all a little different and it creates its own sort of city within one
creates its own sort of city within one
creates its own sort of city within one single building and the building was so
single building and the building was so
single building and the building was so tall and contained so many offices it
tall and contained so many offices it
tall and contained so many offices it almost is its own kind of City so let's
almost is its own kind of City so let's
almost is its own kind of City so let's Jump Ahead 21 years and look at a new
Jump Ahead 21 years and look at a new
Jump Ahead 21 years and look at a new type of Skyscraper the glass curtain
type of Skyscraper the glass curtain
type of Skyscraper the glass curtain wall so within this one image actually
wall so within this one image actually
wall so within this one image actually you see examples of many types of
you see examples of many types of
you see examples of many types of buildings for instance you see an
buildings for instance you see an
buildings for instance you see an old-fashioned masonry building by McKim
old-fashioned masonry building by McKim
old-fashioned masonry building by McKim meat and white you see the next
meat and white you see the next
meat and white you see the next iteration of building which is the
iteration of building which is the
iteration of building which is the setback Skyscraper with its verticals
setback Skyscraper with its verticals
setback Skyscraper with its verticals and its spandrels and then you see the
and its spandrels and then you see the
and its spandrels and then you see the Great Glass corporate Tower which became
Great Glass corporate Tower which became
Great Glass corporate Tower which became the symbol of corporate America all over
the symbol of corporate America all over
the symbol of corporate America all over cities Across America so the lever house
cities Across America so the lever house
cities Across America so the lever house is a 21-story Building completed in 1952
is a 21-story Building completed in 1952
is a 21-story Building completed in 1952 and it's a glass curtain wall the
and it's a glass curtain wall the
and it's a glass curtain wall the exterior skin of the building is no
exterior skin of the building is no
exterior skin of the building is no longer punched windows but it's all
longer punched windows but it's all
longer punched windows but it's all glass and that glass just hangs like a
glass and that glass just hangs like a
glass and that glass just hangs like a curtain off of the existing structure so
curtain off of the existing structure so
curtain off of the existing structure so on the Empire State Building we saw
on the Empire State Building we saw
on the Empire State Building we saw punched Windows which was a series of
punched Windows which was a series of
punched Windows which was a series of vertical columns enclosed in masonry and
vertical columns enclosed in masonry and
vertical columns enclosed in masonry and that then there'd be a spandrel between
that then there'd be a spandrel between
that then there'd be a spandrel between these and that spandrel is actually
these and that spandrel is actually
these and that spandrel is actually where the floor and the ceiling on the
where the floor and the ceiling on the
where the floor and the ceiling on the floor below it meet quite often that
floor below it meet quite often that
floor below it meet quite often that spandrel would have some sort of design
spandrel would have some sort of design
spandrel would have some sort of design on it and then there'd be another
on it and then there'd be another
on it and then there'd be another spandrel and then the window sits
spandrel and then the window sits
spandrel and then the window sits between that but with a carton wall
between that but with a carton wall
between that but with a carton wall building it's totally different you
building it's totally different you
building it's totally different you don't read these columns you don't read
don't read these columns you don't read
don't read these columns you don't read this spandrel at least not in this sort
this spandrel at least not in this sort
this spandrel at least not in this sort of way in a curtain wall building it's
of way in a curtain wall building it's
of way in a curtain wall building it's all glass and it's just a series of
all glass and it's just a series of
all glass and it's just a series of mullion and even the spandrel is made
mullion and even the spandrel is made
mullion and even the spandrel is made out of glass so that the horizontal is
out of glass so that the horizontal is
out of glass so that the horizontal is also glass and then this is what we call
also glass and then this is what we call
also glass and then this is what we call the vision glass or the glass that you
the vision glass or the glass that you
the vision glass or the glass that you can look out of and so the whole
can look out of and so the whole
can look out of and so the whole expression of the building reads as one
expression of the building reads as one
expression of the building reads as one great rapper designed by Gordon bunshaft
great rapper designed by Gordon bunshaft
great rapper designed by Gordon bunshaft of the famous firm Skidmore Owings and
of the famous firm Skidmore Owings and
of the famous firm Skidmore Owings and Merrell or Som what bun shaft did which
Merrell or Som what bun shaft did which
Merrell or Som what bun shaft did which is so unique is he took the mass of the
is so unique is he took the mass of the
is so unique is he took the mass of the building and he turned it perpendicular
building and he turned it perpendicular
building and he turned it perpendicular to the street and then the other thing
to the street and then the other thing
to the street and then the other thing he did was he sat it on this platform or
he did was he sat it on this platform or
he did was he sat it on this platform or this plinth and he raised that platform
this plinth and he raised that platform
this plinth and he raised that platform up on piloti or columns piloti is the
up on piloti or columns piloti is the
up on piloti or columns piloti is the term that LE corbusier used and that
term that LE corbusier used and that
term that LE corbusier used and that nearly every modernist architect
nearly every modernist architect
nearly every modernist architect followed what this platform does is it
followed what this platform does is it
followed what this platform does is it actually holds the street wall so that
actually holds the street wall so that
actually holds the street wall so that you still have a sense of the edge of
you still have a sense of the edge of
you still have a sense of the edge of the street in this case it's Park Avenue
the street in this case it's Park Avenue
the street in this case it's Park Avenue but at the same time he sort of created
but at the same time he sort of created
but at the same time he sort of created this space or this void along 53rd
this space or this void along 53rd
this space or this void along 53rd Street of which the tower sits in so
Street of which the tower sits in so
Street of which the tower sits in so although the lever house is only 21
although the lever house is only 21
although the lever house is only 21 stories tall it makes a very big impact
stories tall it makes a very big impact
stories tall it makes a very big impact along the street one of the things that
along the street one of the things that
along the street one of the things that makes this building unique is that it's
makes this building unique is that it's
makes this building unique is that it's one of the first modern glass
one of the first modern glass
one of the first modern glass skyscrapers built specifically for a
skyscrapers built specifically for a
skyscrapers built specifically for a corporation and that's the Unilever
corporation and that's the Unilever
corporation and that's the Unilever Corporation hence the name lever house
Corporation hence the name lever house
Corporation hence the name lever house and this form of glass curtain wall
and this form of glass curtain wall
and this form of glass curtain wall became very popular among corporate
became very popular among corporate
became very popular among corporate entities and you see them all over New
entities and you see them all over New
entities and you see them all over New York partly because New York is full of
York partly because New York is full of
York partly because New York is full of corporate headquarters for many many
corporate headquarters for many many
corporate headquarters for many many companies so the glass skyscraper became
companies so the glass skyscraper became
companies so the glass skyscraper became symbolic of corporate America the idea
symbolic of corporate America the idea
symbolic of corporate America the idea of glass enclosed skyscraper had been
of glass enclosed skyscraper had been
of glass enclosed skyscraper had been around since the 1920s meets Van Der
around since the 1920s meets Van Der
around since the 1920s meets Van Der rohe the great modernist architect had
rohe the great modernist architect had
rohe the great modernist architect had done many studies of them in the 1920s
done many studies of them in the 1920s
done many studies of them in the 1920s now let's take a look at a building that
now let's take a look at a building that
now let's take a look at a building that inspired a new zoning law the Seagram
inspired a new zoning law the Seagram
inspired a new zoning law the Seagram building by miese Van Der rohe so now
building by miese Van Der rohe so now
building by miese Van Der rohe so now we've jumped ahead six years the Seagram
we've jumped ahead six years the Seagram
we've jumped ahead six years the Seagram building which is 38 stories tall was
building which is 38 stories tall was
building which is 38 stories tall was completed in 1958 it was built for the
completed in 1958 it was built for the
completed in 1958 it was built for the Seagram company this building is
Seagram company this building is
Seagram company this building is diagonally across the street from the
diagonally across the street from the
diagonally across the street from the lever house so here's everything that
lever house so here's everything that
lever house so here's everything that jumps out at me he creates this
jumps out at me he creates this
jumps out at me he creates this beautiful 90-foot D Plaza and this very
beautiful 90-foot D Plaza and this very
beautiful 90-foot D Plaza and this very minimal entrance overhang and then puts
minimal entrance overhang and then puts
minimal entrance overhang and then puts I-beam on the exterior of the building
I-beam on the exterior of the building
I-beam on the exterior of the building in this vertical configuration and what
in this vertical configuration and what
in this vertical configuration and what those do is those Express the structure
those do is those Express the structure
those do is those Express the structure within but they're actually not
within but they're actually not
within but they're actually not structural they're actually ornamental
structural they're actually ornamental
structural they're actually ornamental his idea was to show the verticality of
his idea was to show the verticality of
his idea was to show the verticality of the building and how the building is
the building and how the building is
the building and how the building is built and they're beautifully detailed
built and they're beautifully detailed
built and they're beautifully detailed and then this bronze tinted building in
and then this bronze tinted building in
and then this bronze tinted building in this bronze clad metal all work together
this bronze clad metal all work together
this bronze clad metal all work together to form this really refined and elegant
to form this really refined and elegant
to form this really refined and elegant monolith so although this perfect
monolith so although this perfect
monolith so although this perfect rectangular monolith faces the street
rectangular monolith faces the street
rectangular monolith faces the street behind it there are multiple forms
behind it there are multiple forms
behind it there are multiple forms there's a spine that runs along the
there's a spine that runs along the
there's a spine that runs along the whole height of the building and then
whole height of the building and then
whole height of the building and then coming off of that spine are two
coming off of that spine are two
coming off of that spine are two symmetrical step little buildings of
symmetrical step little buildings of
symmetrical step little buildings of which the famous Four Seasons Restaurant
which the famous Four Seasons Restaurant
which the famous Four Seasons Restaurant was contained in so hiding behind that
was contained in so hiding behind that
was contained in so hiding behind that is a small little setback Tower so miss
is a small little setback Tower so miss
is a small little setback Tower so miss van DeRose being who he was there was no
van DeRose being who he was there was no
van DeRose being who he was there was no way he was going to design a
way he was going to design a
way he was going to design a conventional set-back Tower he figured
conventional set-back Tower he figured
conventional set-back Tower he figured out a way to build a monolithic
out a way to build a monolithic
out a way to build a monolithic rectangular form that sets back from the
rectangular form that sets back from the
rectangular form that sets back from the street and doesn't puncture the sky
street and doesn't puncture the sky
street and doesn't puncture the sky exposure plane and also creates a new
exposure plane and also creates a new
exposure plane and also creates a new kind of urban space and that Urban space
kind of urban space and that Urban space
kind of urban space and that Urban space is this wonderful Plaza at the front of
is this wonderful Plaza at the front of
is this wonderful Plaza at the front of the building so before as in the Empire
the building so before as in the Empire
the building so before as in the Empire State Building where the building took
State Building where the building took
State Building where the building took up the entire footprint of the site the
up the entire footprint of the site the
up the entire footprint of the site the Seagram building steps back and leaves
Seagram building steps back and leaves
Seagram building steps back and leaves part of the footprint empty and creates
part of the footprint empty and creates
part of the footprint empty and creates an Urban Plaza so this building achieved
an Urban Plaza so this building achieved
an Urban Plaza so this building achieved what the 1916 zoning law set out to do
what the 1916 zoning law set out to do
what the 1916 zoning law set out to do which was to let sunlight penetrate down
which was to let sunlight penetrate down
which was to let sunlight penetrate down to the sidewalk and it did it in such a
to the sidewalk and it did it in such a
to the sidewalk and it did it in such a successful way that the new zoning laws
successful way that the new zoning laws
successful way that the new zoning laws that came in 1961 gave bonuses to
that came in 1961 gave bonuses to
that came in 1961 gave bonuses to encourage the alternate setback and
encourage the alternate setback and
encourage the alternate setback and create these Plaza Towers that had these
create these Plaza Towers that had these
create these Plaza Towers that had these public spaces that were privately owned
public spaces that were privately owned
public spaces that were privately owned and many more of these Plaza Towers came
and many more of these Plaza Towers came
and many more of these Plaza Towers came into being because of it so let's Jump
into being because of it so let's Jump
into being because of it so let's Jump Ahead 50 years and take a look at the
Ahead 50 years and take a look at the
Ahead 50 years and take a look at the New York Times building so by the early
New York Times building so by the early
New York Times building so by the early 2000s the New York Times had outgrown
2000s the New York Times had outgrown
2000s the New York Times had outgrown its facilities on West 43rd Street just
its facilities on West 43rd Street just
its facilities on West 43rd Street just off of Times Square which was named
off of Times Square which was named
off of Times Square which was named after the paper the new New York Times
after the paper the new New York Times
after the paper the new New York Times building from 2007. it does a few things
building from 2007. it does a few things
building from 2007. it does a few things that are very unique it wraps the entire
that are very unique it wraps the entire
that are very unique it wraps the entire building in these horizontal ceramic
building in these horizontal ceramic
building in these horizontal ceramic rods which form this Veil that filters
rods which form this Veil that filters
rods which form this Veil that filters the sunlight and reduces the solar heat
the sunlight and reduces the solar heat
the sunlight and reduces the solar heat gain the architect still includes the
gain the architect still includes the
gain the architect still includes the crown of the skyscraper but he does it
crown of the skyscraper but he does it
crown of the skyscraper but he does it in a really Modern Way by bringing the
in a really Modern Way by bringing the
in a really Modern Way by bringing the veil of the ceramic rods all the way up
veil of the ceramic rods all the way up
veil of the ceramic rods all the way up and the other thing he does is he
and the other thing he does is he
and the other thing he does is he expresses the verticality by pulling in
expresses the verticality by pulling in
expresses the verticality by pulling in the sides of the building and making
the sides of the building and making
the sides of the building and making them now narrower it breaks down the
them now narrower it breaks down the
them now narrower it breaks down the form a little and makes it appear even
form a little and makes it appear even
form a little and makes it appear even taller and then the other thing is he
taller and then the other thing is he
taller and then the other thing is he reveals the structure he peels back some
reveals the structure he peels back some
reveals the structure he peels back some of that Veil and he reveals the actual
of that Veil and he reveals the actual
of that Veil and he reveals the actual structure and it creates this really
structure and it creates this really
structure and it creates this really modern high-tech forward-looking
modern high-tech forward-looking
modern high-tech forward-looking building and you could see how much it
building and you could see how much it
building and you could see how much it stands out from the rest of its
stands out from the rest of its
stands out from the rest of its neighbors it is 52 stories tall and one
neighbors it is 52 stories tall and one
neighbors it is 52 stories tall and one of the tallest buildings in Manhattan so
of the tallest buildings in Manhattan so
of the tallest buildings in Manhattan so this building was designed by Renzo
this building was designed by Renzo
this building was designed by Renzo Piano who was known as sort of a
Piano who was known as sort of a
Piano who was known as sort of a high-tech architect he designed the
high-tech architect he designed the
high-tech architect he designed the pompadou center in Paris along with
pompadou center in Paris along with
pompadou center in Paris along with Richard Rogers who is another high-tech
Richard Rogers who is another high-tech
Richard Rogers who is another high-tech architect and Norman Foster and what
architect and Norman Foster and what
architect and Norman Foster and what they always like to do is they'll sort
they always like to do is they'll sort
they always like to do is they'll sort of show the components of the building
of show the components of the building
of show the components of the building on the outside other examples of Express
on the outside other examples of Express
on the outside other examples of Express structure in New York are three World
structure in New York are three World
structure in New York are three World Trade Center by Richard Rogers or the
Trade Center by Richard Rogers or the
Trade Center by Richard Rogers or the Hearst building by Norman Foster let's
Hearst building by Norman Foster let's
Hearst building by Norman Foster let's get a closer look at those ceramic rods
get a closer look at those ceramic rods
get a closer look at those ceramic rods and how the structure is expressed I
and how the structure is expressed I
and how the structure is expressed I mean the first thing is they still
mean the first thing is they still
mean the first thing is they still employ the same Masthead title of the
employ the same Masthead title of the
employ the same Masthead title of the paper which I love so you take this
paper which I love so you take this
paper which I love so you take this really old Gothic typeface and you put
really old Gothic typeface and you put
really old Gothic typeface and you put it on this super modern building
it on this super modern building
it on this super modern building position is fantastic and you could see
position is fantastic and you could see
position is fantastic and you could see close up these ceramic rods and you
close up these ceramic rods and you
close up these ceramic rods and you could see the windows Beyond and you
could see the windows Beyond and you
could see the windows Beyond and you could see the X bracing that stiffens
could see the X bracing that stiffens
could see the X bracing that stiffens the entire structure and makes it solid
the entire structure and makes it solid
the entire structure and makes it solid and at the same time he holds back the
and at the same time he holds back the
and at the same time he holds back the ceramic rods or the veil on the front of
ceramic rods or the veil on the front of
ceramic rods or the veil on the front of the building and reveals the corner to
the building and reveals the corner to
the building and reveals the corner to create these wonderful Corner offices
create these wonderful Corner offices
create these wonderful Corner offices the New York Times building it's yet
the New York Times building it's yet
the New York Times building it's yet another architectural corporate
another architectural corporate
another architectural corporate expression so where Mis was taking these
expression so where Mis was taking these
expression so where Mis was taking these i-beams expressing the structure as
i-beams expressing the structure as
i-beams expressing the structure as ornament it wasn't actual structure in
ornament it wasn't actual structure in
ornament it wasn't actual structure in fact miese took these i-beams and put
fact miese took these i-beams and put
fact miese took these i-beams and put them on every single Bay whether there
them on every single Bay whether there
them on every single Bay whether there was a column there or not to give this
was a column there or not to give this
was a column there or not to give this complete Rhythm and monolithic facade
complete Rhythm and monolithic facade
complete Rhythm and monolithic facade what piano is doing here at the New York
what piano is doing here at the New York
what piano is doing here at the New York Times is he's revealing the actual
Times is he's revealing the actual
Times is he's revealing the actual structure in a very ornamental Way by
structure in a very ornamental Way by
structure in a very ornamental Way by saying look isn't the actual structure
saying look isn't the actual structure
saying look isn't the actual structure that holds up this building beautiful in
that holds up this building beautiful in
that holds up this building beautiful in its own right and what piano does here
its own right and what piano does here
its own right and what piano does here that I find really interesting is that
that I find really interesting is that
that I find really interesting is that he takes that tale that he created to
he takes that tale that he created to
he takes that tale that he created to Shield the Sun and he uses that same
Shield the Sun and he uses that same
Shield the Sun and he uses that same structure and that same cloak to create
structure and that same cloak to create
structure and that same cloak to create the roof parapet and conceal the
the roof parapet and conceal the
the roof parapet and conceal the mechanical units and he also includes on
mechanical units and he also includes on
mechanical units and he also includes on the roof this giant aerial which I think
the roof this giant aerial which I think
the roof this giant aerial which I think says a lot about the New York Times I
says a lot about the New York Times I
says a lot about the New York Times I think the New York Times is saying
think the New York Times is saying
think the New York Times is saying although we began as a newspaper we
although we began as a newspaper we
although we began as a newspaper we however are looking towards the future
however are looking towards the future
however are looking towards the future and this huge antenna signals that idea
and this huge antenna signals that idea
and this huge antenna signals that idea next let's look at a totally new kind of
next let's look at a totally new kind of
next let's look at a totally new kind of Skyscraper the super tall this is 432
Skyscraper the super tall this is 432
Skyscraper the super tall this is 432 Park Avenue which sits along 57th Street
Park Avenue which sits along 57th Street
Park Avenue which sits along 57th Street and what makes this building unique is
and what makes this building unique is
and what makes this building unique is not only that it's 85 stories tall or
not only that it's 85 stories tall or
not only that it's 85 stories tall or that each floor plate is only 8 000
that each floor plate is only 8 000
that each floor plate is only 8 000 square feet but in a sense it's actually
square feet but in a sense it's actually
square feet but in a sense it's actually seven separate 12-story Towers stacked
seven separate 12-story Towers stacked
seven separate 12-story Towers stacked on top of one another with two stories
on top of one another with two stories
on top of one another with two stories of mechanical floor between each one so
of mechanical floor between each one so
of mechanical floor between each one so what's quite amazing about this building
what's quite amazing about this building
what's quite amazing about this building is the slenderness of this building it's
is the slenderness of this building it's
is the slenderness of this building it's almost like a spike sticking out of the
almost like a spike sticking out of the
almost like a spike sticking out of the ground and it's complete change the
ground and it's complete change the
ground and it's complete change the skyline of New York so this is just one
skyline of New York so this is just one
skyline of New York so this is just one of a few super talls that have sprung up
of a few super talls that have sprung up
of a few super talls that have sprung up recently along 57th Street the others
recently along 57th Street the others
recently along 57th Street the others being the Nordstrom Tower at Broadway
being the Nordstrom Tower at Broadway
being the Nordstrom Tower at Broadway the Steinway Tower close to 7th Avenue
the Steinway Tower close to 7th Avenue
the Steinway Tower close to 7th Avenue and one 57th Street by Christian portsm
and one 57th Street by Christian portsm
and one 57th Street by Christian portsm Park the great French architect between
Park the great French architect between
Park the great French architect between 5th and 6th Avenue so what makes this
5th and 6th Avenue so what makes this
5th and 6th Avenue so what makes this building unique week it is so tall and
building unique week it is so tall and
building unique week it is so tall and so thin it almost defies explanation as
so thin it almost defies explanation as
so thin it almost defies explanation as to how it stands up so now let me tell
to how it stands up so now let me tell
to how it stands up so now let me tell you how it does stand up it's not a
you how it does stand up it's not a
you how it does stand up it's not a commercial building it's actually a
commercial building it's actually a
commercial building it's actually a residential building and it's not built
residential building and it's not built
residential building and it's not built out of steel it's actually built out of
out of steel it's actually built out of
out of steel it's actually built out of concrete the traditional way of
concrete the traditional way of
concrete the traditional way of structuring a residential building and
structuring a residential building and
structuring a residential building and that's because steel buildings require
that's because steel buildings require
that's because steel buildings require beams but to get maximum floors and
beams but to get maximum floors and
beams but to get maximum floors and maximum floor height concrete is used
maximum floor height concrete is used
maximum floor height concrete is used because of flat slabs where no beams are
because of flat slabs where no beams are
because of flat slabs where no beams are required what that flat slab means is
required what that flat slab means is
required what that flat slab means is you don't have to contend with beams
you don't have to contend with beams
you don't have to contend with beams typically in pre-war buildings there's
typically in pre-war buildings there's
typically in pre-war buildings there's actually a beam between the column you
actually a beam between the column you
actually a beam between the column you see that in the rooms and the beam runs
see that in the rooms and the beam runs
see that in the rooms and the beam runs along the ceiling with flat slab
along the ceiling with flat slab
along the ceiling with flat slab buildings starting in like the 1950s no
buildings starting in like the 1950s no
buildings starting in like the 1950s no beams are required the slab actually
beams are required the slab actually
beams are required the slab actually spans between columns without any beam
spans between columns without any beam
spans between columns without any beam also notable is that it sits on Prime
also notable is that it sits on Prime
also notable is that it sits on Prime real estate it's on Park Avenue it's on
real estate it's on Park Avenue it's on
real estate it's on Park Avenue it's on 57th Street which is known as
57th Street which is known as
57th Street which is known as billionaires row it sits so close to the
billionaires row it sits so close to the
billionaires row it sits so close to the park it gets views not only of the park
park it gets views not only of the park
park it gets views not only of the park but of all the counties surrounding
but of all the counties surrounding
but of all the counties surrounding Manhattan it's called billionaires row
Manhattan it's called billionaires row
Manhattan it's called billionaires row because that's who inhabits these
because that's who inhabits these
because that's who inhabits these buildings nobody else could afford to
buildings nobody else could afford to
buildings nobody else could afford to actually buy these apartments and
actually buy these apartments and
actually buy these apartments and because of that a lot of these buildings
because of that a lot of these buildings
because of that a lot of these buildings remain empty even the ones that our
remain empty even the ones that our
remain empty even the ones that our purchase remain empty most of the year
purchase remain empty most of the year
purchase remain empty most of the year because the people who own them have so
because the people who own them have so
because the people who own them have so many other homes it's just unfortunate
many other homes it's just unfortunate
many other homes it's just unfortunate that with the shortage of housing in New
that with the shortage of housing in New
that with the shortage of housing in New York all these apartments sit empty most
York all these apartments sit empty most
York all these apartments sit empty most of the year so what I really like about
of the year so what I really like about
of the year so what I really like about this building as a piece of Architecture
this building as a piece of Architecture
this building as a piece of Architecture is its Simplicity there's no ornamented
is its Simplicity there's no ornamented
is its Simplicity there's no ornamented Crown at the top there's no ornamented
Crown at the top there's no ornamented
Crown at the top there's no ornamented base at the bottom it's all midsection
base at the bottom it's all midsection
base at the bottom it's all midsection the other thing that I think is terrific
the other thing that I think is terrific
the other thing that I think is terrific about this building is that this grid
about this building is that this grid
about this building is that this grid that the windows sit within is actually
that the windows sit within is actually
that the windows sit within is actually the structure of the building exposed so
the structure of the building exposed so
the structure of the building exposed so let's take a look at the structure that
let's take a look at the structure that
let's take a look at the structure that holds this building up so what I really
holds this building up so what I really
holds this building up so what I really like about this building as I said
like about this building as I said
like about this building as I said before is its Simplicity this grid is
before is its Simplicity this grid is
before is its Simplicity this grid is actually a concrete frame that the
actually a concrete frame that the
actually a concrete frame that the windows are set into and this concrete
windows are set into and this concrete
windows are set into and this concrete frame is actually what holds up the
frame is actually what holds up the
frame is actually what holds up the building so this concrete frame is the
building so this concrete frame is the
building so this concrete frame is the the same on all four sides and it forms
the same on all four sides and it forms
the same on all four sides and it forms this sort of perforated tube and then
this sort of perforated tube and then
this sort of perforated tube and then within that tube and you could see it at
within that tube and you could see it at
within that tube and you could see it at these open floors here there's another
these open floors here there's another
these open floors here there's another tube that's actually the core of the
tube that's actually the core of the
tube that's actually the core of the building that contains the stairs and
building that contains the stairs and
building that contains the stairs and the elevators and that's also made out
the elevators and that's also made out
the elevators and that's also made out of concrete and the flat slabs of the
of concrete and the flat slabs of the
of concrete and the flat slabs of the floor connect from the outside tube to
floor connect from the outside tube to
floor connect from the outside tube to the inside tube and that's how the
the inside tube and that's how the
the inside tube and that's how the building stands up but it's so tall that
building stands up but it's so tall that
building stands up but it's so tall that the top of the building it actually
the top of the building it actually
the top of the building it actually sways as if it were a mast or a giant
sways as if it were a mast or a giant
sways as if it were a mast or a giant flagpole and to counteract that they use
flagpole and to counteract that they use
flagpole and to counteract that they use something called a mass damper which is
something called a mass damper which is
something called a mass damper which is basically just a giant weight on a
basically just a giant weight on a
basically just a giant weight on a spring that moves out of sequence with
spring that moves out of sequence with
spring that moves out of sequence with the movement of the building and it
the movement of the building and it
the movement of the building and it counteracts that movement and tries to
counteracts that movement and tries to
counteracts that movement and tries to stabilize it so essentially you don't
stabilize it so essentially you don't
stabilize it so essentially you don't get seasick when you're at the top of
get seasick when you're at the top of
get seasick when you're at the top of the building so before aware buildings
the building so before aware buildings
the building so before aware buildings were made out of steel iron workers
were made out of steel iron workers
were made out of steel iron workers would grab Beach beam would be brought
would grab Beach beam would be brought
would grab Beach beam would be brought to them on a crane and they would bolt
to them on a crane and they would bolt
to them on a crane and they would bolt them together or then weld them here you
them together or then weld them here you
them together or then weld them here you take concrete which starts out as a
take concrete which starts out as a
take concrete which starts out as a liquid and gets poured into a form but
liquid and gets poured into a form but
liquid and gets poured into a form but it's so tall you have to pump it all the
it's so tall you have to pump it all the
it's so tall you have to pump it all the way up to the top of the building and
way up to the top of the building and
way up to the top of the building and then get it into the form but the
then get it into the form but the
then get it into the form but the problem with these buildings is that
problem with these buildings is that
problem with these buildings is that there's been a lot of reports that
there's been a lot of reports that
there's been a lot of reports that because the buildings are so tall and
because the buildings are so tall and
because the buildings are so tall and the stresses on them are so great a lot
the stresses on them are so great a lot
the stresses on them are so great a lot of the pipes have cracked and a lot of
of the pipes have cracked and a lot of
of the pipes have cracked and a lot of the elevator shafts have deformed and
the elevator shafts have deformed and
the elevator shafts have deformed and there's been a lot of maintenance issues
there's been a lot of maintenance issues
there's been a lot of maintenance issues with these towers being the biggest and
with these towers being the biggest and
with these towers being the biggest and the best is a very New York thing but
the best is a very New York thing but
the best is a very New York thing but that's sort of the price you pay when
that's sort of the price you pay when
that's sort of the price you pay when you push the limits so those are some of
you push the limits so those are some of
you push the limits so those are some of the most common types of skyscrapers in
the most common types of skyscrapers in
the most common types of skyscrapers in New York City let me know what other
New York City let me know what other
New York City let me know what other skylines we should explore in the
skylines we should explore in the
skylines we should explore in the comments below
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