At 53 Scott in Brooklyn, the bank architecture learns from the surrounding industrial context

At 53 Scott in Brooklyn, the bank architecture learns from the surrounding industrial context

If you are a New York part of the live music, you have undoubtedly gone to Bushwick's production quarters for shows in a variety of post -industrial sheds. Regardless of whether it was the corrugated sheet metal stairs elsewhere or life and the limbs from the knock from the K-bridge park from the K-bridge park from the area from the area from the search for parking in the K-Brückenpark.

Due to its proximity to the U -Bahn lines, a relatively cheap country and the continued obsession of industrial aesthetics, Bushwick quickly turned from a production area to a trendy quarter with mixed use. However, it is increasingly being increased, and developers of happier, in cooperation with the bench architecture, are a call.

Happy typed bank architecture to deliver 53 Scott
The developer happier typed the bench architecture to deliver 53 Scott, the first basic building of the office in New York. (Nicholas Venezia)

A number of new developments were opened last year or something that is not known from a nickname, but exclusively of their addresses: 53 Scott, 154 Scott, 99 Scott. Everyone is a short walk from Subway station Jefferson L removed and everyone was developed by Happier, which the bank architecture for the first two addresses created to create rooms with a mood that is more aesop and less quickly.

When 154 Scott was opened last year, it received broad recognition, some of which received a new member of a new member for the creative class on his trendy and luxurious tenant. It is located on the Vintage Industrial Warehouse in a new converted room and uses the roof well. The rest of the building houses art studios that have been rented almost immediately – many transfers from the founder of the bank architecture David Bench.

Welding doors within 53 Scott, which were designed by the bench architecture
High quality welded doors lead to every studio. (Nicholas Venezia)

When the bank approached more happily on the street with a proposal for another Studio -Loft building, the architect jumped on it. Of the early success of 154 Scott, 53, should be a basic project.

The 5-story building from the street rises over most of its neighbors and at first glance fits the mass into the surrounding industrial lofts, except that everything is clean and evenly, and a fresh flaw. A stepped profile is rejuvenated when it rises. It is difficult and its present reveals it. Each wall is thick and windows are cut with generous setbacks to promote this image of the volume. Bench explained that additional 40-year stories could ultimately be built on the structure if the zoning laws in the region change. “This building will still be here in a hundred years or longer,” said Bench A, In a popular story told by architects with concrete: Yes, it is durable, but also has high environmental costs. In addition, 53 Scott sits on the Newton Creek Flood Plain and requires more than 300 wooden piles and no basement.

Stairs in 53 Scott
Bench and his team designed the building with an “obsessively reductionist way of thinking”. (Nicholas Venezia)

Bench and his team were developed with an “obsessively reductionist thinking”, Bench described. Although this achieves a luxurious feeling. Polished concrete floors hit 17 feet high ceilings. The windows are raised a few meters above the floor and centered in the wall to lend and order the rhythm and the facade to rhythm. Oh, and your things are not displayed if you stack it against this glazed wall. And you won't kick it, the slices accidentally break or crack. These details reveal the bank's own artistic thinking and experience as a manufacturer.

However, the bank may be proud of the concrete block corridors. Only of highly welded doors that led every studio were spent in the blocks to avoid the multi-stage process of making sheet rock walls. This is a result that with a process of which he said that he is “flooded”, finds “flimsy”. “For these halls we set an experienced bricklayer to simply stack every unit. Then it was ready. Maybe it cost more in advance, but the quality and integrity of the material is fully equipped,” he said.

Interior view of 53 Scott
Polished concrete floors hit 17 feet high ceilings and achieve a luxurious feeling. (Nicholas Venezia)
A large window in 53 Scott
The windows were raised a few meters above the ground and centered in the wall to give rhythm and both for the studio and the facade. (Nicholas Venezia)

The two upper floors are already accommodating event rooms, although the building is still 100 percent complete. Mobile bars and 5-foot loudspeakers in front of floor-length curtains that visit visitors onto the terrace. “The key to the success of these projects is to ensure constant measures,” said Tyler Schatt, a real estate leader at happier. It is a cultural third room that a certain level of creative people wishes. How many artists do you know who have brand new studios? With a price of USD 3 per square foot, you could have a corner for $ 1,200 per month.

Bathroom interior
In a bathroom, Green Tile gives an otherwise monotonous design color. (Nicholas Venezia)

This relative difficulty is thanks to the vision of the happier founders in 2011. The combination of cheap land and access to the public transit is still the secret sauce for development in NYC. But happier, founded by two brothers, has taken great risks for his great view in Bushwick. There is 154 Scott directly opposite an active open-air recycling system. However, one of Bench's young designers told me that people are fighting a desk of streets to watch the industrial game all day-a break from the screen. It is easy to recognize this situation as loud and distracting, but a new generation of creative workers hugs it.

Terrace at the building with a view of Bushwick down and around
A terrace looks into the neighborhood. (Nicholas Venezia)

“We are still in 1961 when we talk about Zoning,” said Bench through a tight jaw. However, his design for these projects sees far beyond the 1960s: we rose through the core of the building by stairs, and the stairs tripled the width of an average landing from an emergency. “Like the piles that wanted to support another 40 stories, this staircase was designed for their exit.” Design for a future you want: where roof pools can coexist with the distance of our consumer industry.

Emily Conclin, formerly AThe Managing Editor is a design historian and critic in Manhattan.

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