tempered glass prices per square foot
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Mark Foster Gage's provocative designs for Manhattan skyscrapers don't shy away from tough questions of taste, form or property speculation.
During the tumultuous months following the 2008 financial crisis, small-scale trends emerged among New York's resident population of millionaires and billionaires.Faced with possible dissatisfaction from their less affluent neighbors, some have begun buying luxury goods from brands like Hermès and Louis Vuitton in brown or white bags that were previously mostly associated with questionable goods such as alcohol or pornography.Architecturally, an extension of this impulse might be found in the regular, restrained, curtain-walled supertall towers of West 57th Street's newly named Billionaires Street.
The incredible heights of the towers—the current tallest at 1,396 feet—makes them visible from many unexpected places in the city, their shadows encroaching on the public amenity of Central Park to the north..Designed for a slow rebound in the housing market, when real estate speculation was once again a profitable business, the towers took a somewhat cautious approach to the wealth locked in the slabs, still subject to post-2008 sensitivities.For example, the façade of Rafael Viñoly's 432 Park consists of a grid of stacked square windows, while in Christian de Portzamparc's One57, gleaming The glass surface rises gently to the edge of the razor.
By contrast, Mark Foster Gage Architects' recently unveiled tempered glass prices per square foot design for a 1,492-foot residential tower on West 57th Street ditched paper bags entirely, wrapping the structure in ornately carved and gilded forms.The design is so sculptural that it was nicknamed "Khaleesi" after the proud and jewel-like dragon queen from Game of Thrones, and has also prompted comparisons to Michelangelo.Architectural fragments climb up the four corners of the building, reaching halfway into huge winged balconies and culminating in a crown adorned with bronze and limestone at the top.The series of forms draws on the Art Deco heritage of New York City's skyscrapers - Rockefeller Center, Radiator Building, and Chrysler Building - where eagles, machines and fine tracery are clearly visible.
Rather than attempt a stylistic revival, however, Gage and his team used state-of-the-art software and a shaping technique they call "kitbashing," which stems from a long-standing model-making tradition of combining Parts from various kits to achieve the final composition."Kitbashing is simply access to an online world of pre-made digital 3D models, of which there are hundreds of thousands," explains Gage."We use these 3D models as the bricks for the building itself, which can infuse any design with a truly gorgeous figurative quality that can be made with existing techniques such as CNC milling and stone or concrete casting." According to Gage, this The goal of this approach is "to produce things like awe, wonder, mystery, and curiosity."
But this fantastic aesthetic certainly serves another goal, the production of high-value real estate of tempered glass prices per square foot.Gage's team worked with an unnamed developer to design a futuristic building with units that could fetch $20,000 tempered glass prices per square foot on the market.While the architect was clearly deeply involved in fine-tuning the design to suit profitability and construction efficiency requirements, Gage was more conscious of incorporating these emergencies into his design."Real estate is a language of equations, and the architects add a little dynamism to it," said Gage.In this case, Gage's team tweaked the equation for the 102-story tower, which features expansive balconies, a four-star restaurant, a two-story ballroom and the décor itself, giving each unit a sense of New York's uniqueness landscape.
Unlike many well-known conjecture tempered glass prices per square foot projects in architectural history—one might turn to Adolf Loos' proposal for the Chicago Tribune Building, or perhaps OMA's similar tower-type project for Delirious New York's Sphinx Hotel—in Operating with political or social goals in mind, Gage's hypothetical tall buildings are speculated on purely aesthetic grounds, pointing to emotional states, the emotions aroused in residents and audiences, rather than possible changes in the economic structure."I'm totally against architecture as just a vehicle for unusual and dense solipsistic painting," Gage said of the more academically minded project.Of course, the tower's design intent and achievability are clear.But most likely, there are other ways to get to $20,000 per square foot without taking too much effort to generate such a complex design.
Despite his opposition to paper architects, Gage also appears to be against purely pragmatic architecture, suggesting that tower design may be a way to open up more space for architects in the spreadsheet-driven urban building machine."In a sense, we decided we had to go back to architecture," he said.“We had to produce something that was absolutely modern but loved for its actual architectural qualities — not just its location or height.” He continued, “Today, designing an icy princess in Frozen A castle would take longer than designing a 100-story building in New York City." Given the height, proportions, and usable floor area, the architect should control as much as possible about what's left.In fact, Gage has previously criticized some other architects as "product selectors" who piece together off-the-shelf materials rather than articulating every part of their designs.
The conclusion drawn from the renderings is that the tower is actually a step towards a postmodern symbolic language, which is forgivable, with various patterns and sculptural fragments representing meaning.These possible interpretations of the project prompted Gage to clarify: “Today, there are better ways to communicate than through architecture. When everyone has a smartphone, architecture is freed from the responsibility of communication and free to explore value, luxury, Even, dare I say it, new ideas of beauty.” The sheer number of forms used in the design degrades the meaning of each one, ultimately allowing the entire building to be read as a single form without any element of it explicitly stating anything .
But design itself does communicate, and often in a highly pop culture-adapted way.It is not without reason that it is called Khaleesi, even by its creator.The popular feel is very different from the 1960s feeling—celebration rather than satire, awe-inspiring rather than cynical, seductive rather than political.Of course, Gage's towers also successfully communicate the wealth and status of potential future residents, a trophy for residency.However, buildings inevitably have economic, social and political consequences, often far wider than most politically inclined speculative architects.Professional and personal interests have a greater impact when speculation materializes.
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