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Between Seventh Avenue & Eighth Avenue | Chelsea View on Map
One of Chelsea's landmark buildings, this 9-story structure for many decades housed the McBurney Branch of the YMCA until the 100-year-old building was converted to condominium apartments in 2004.
The YMCA of Greater New York sold this building to Time Equities Inc., which is headed by Francis Greenburger, and its former residential annex at 206 West 24th Street to Common Ground Community, a non-profit organization, in 2000 for $17,150,000 so that it could move to new quarters at 125 West 14th Street on the ground and lower levels of a former Armory site.
Time Equities converted the handsome structure on 23rd Street into condominium apartments while Common Ground refurbished the property's residential annex structure on 24th Street as a supportive residence for homeless and low-income single individuals and for a "Foyer" program for 40 young people aged 18-24 who have left the foster care system, or are otherwise at risk of homelessness.
The McBurney building had been named for Robert Ross McBurney, the first chief executive of the YMCA. The McBurney branch was first constructed on 23rd Street at Fourth Avenue in 1869 but moved to this located in 1904.
In 1999, the YMCA started a $3 million renovation of the McBurney building but discovered that renovation would cost much more and decided to sell the building. At the time of the building's sale, it still had about a dozen low-income residents who will stay on in the Common Ground facility.
Mr. Greenburger has been quoted as saying that where the two buildings were connected, "they were severed," adding that "I was only interested in the 23rd Street building…The exterior is very rich and historic, the ceiling heights are good and we think it's a wonderful location."
The building is adjacent to the handsome Muhlenberg branch of the New York Public Library designed by Carrere & Hastings in 1906, and across the street from the fabled Chelsea Hotel at 222 West 23rd Street that was designed by Hubert, Pirsson & Co., in 1885.
According to an November 8, 2002 article by Rachelle Garbarine in The New York Times, Time Equities hoped to find "an athletic buyer for a quadruplex apartment that would come with its own indoor basketball court, running track, swimming pool, steam room and sauna." "Or three energetic buyers who could choose from seven projected layouts that would income some of those amenities."
"The apartments with their own athletic facilities," the article continued, "would be carved from the top three floors, and would have approximately 6,125 to 20,515 square feet and cost an estimated $5 million to $12.5 million. A rooftop tennis court could also be built....The plan also calls for the lower floors to be divided into 13 apartments with about 775 to 2,680 square feet, priced from $540,000 to $2 million."
K Square Designs of Manhattan is the architect for the condominium conversions.
A David Barton gym occupies the building s lower three floors.
Apartments feature a Sub-Zero refrigerator and wine cooler, a Wolf range, a Miele dishwasher, marble baths, and wide plank wood floors.
The building, which has a handsome portico with large columns and a step-up-entrance, has a doorman and a concierge.
220 Riverside Boulevard, between West 70th Street & West 71st Street | Riverside Dr./West End Ave. View on Map
At a soaring 49-stories, Trump Place at 220 Riverside Boulevard is the tallest tower in the Trump Place development.
The residences at Trump Place offer varied and spacious floor plans suited to a range of buyer needs. Apartments were developed with an emphasis on two-, three- and four-bedroom units, each designed to maximize space and capitalize on the extraordinary river views and abundance of natural light. They are include such details as herringbone hardwood floors, oversized, sound-proof windows, individual climate control and state-of-the-art telecommunications and entertainment systems. Kitchens are equipped with top-of-the-line stainless steel appliances and master baths and powder rooms have topnotch vanities, fixtures and finishes.
220 Riverside Boulevard offers amenities that include a round-the-clock hotel-style doorman, concierge and valet service, a health club with pool and spa, on-site parking, a wood-paneled library, an English billiards room, an entertainment suite, a children’s playroom and a landscaped interior courtyard.
Trump Place offers residents access to Riverside Park and the Hudson River Esplanade. It is also close to the shops and restaurants of Columbus Circle and is near to excellent public transportation.
310 West 52nd Street, between Eighth Avenue & Ninth Avenue | Midtown West View on Map
The Link is a sleek, 44-story, mid-block residential condominium tower at 310 West 52nd Street that is most notable for its clear-glass "cube" entrance that is similar to the one erected in 2006 by Macklowe Properties for an Apple store at the GM Building on Fifth Avenue between 59th and 60th Streets.
It was developed by Elad Properties, of which Miki Naftali is a principal. Its other Manhattan projects include the residential conversion of part of the Plaza Hotel, the residential conversion of the former Gift Building at 225 Fifth Avenue and the former O’Neill Store at 655 Avenue of the Americas.
Costas Kondylis and Partners and Gal Nauer Architects were the design team for The Link.
The building has 215 condominium apartments and was completed in 2007.
Between West 69th Street & West 70th Street | Lincoln Center View on Map
200 West End Avenue is located in the Upper West Side.
Situated on the corner of 70th Street and West End Avenue, the 29-story 200 West End Avenue offers a generous selection of layouts with oversized floor-to-ceiling windows and hardwood flooring. Open kitchens have white-oak cabinetry, black granite countertops and topnotch appliances; master baths have generous storage space, deep soaking tubs and frameless glass and marble showers.
In collaboration with Wine Enthusiast Magazine, noted designer Celerie Kemble developed a wine tasting room and a children’s playroom for residents and their children. Additional amenities at 200 West End Avenue include hotel-style concierge service by Abigail Michaels, on-site valet parking, a fitness room, a residents’ lounge, a billiards and screening room and a landscaped terrace. Central and Riverside Parks and countless shops and restaurants are also nearby.
Between Madison Avenue & Park Avenue | Carnegie Hill View on Map
This handsome but modest apartment building was the subject of one of the most contentious "landmark" fights in the city's history.
Located in the Carnegie Hill Historic District, the property was long occupied by a one-story red-brick bank building of no particular distinction. The bank, Citibank, sold the property to Cary Tamarkin, a developer who wanted to erect an "as-of-right" luxury apartment building of 17 stories, about the same height as an apartment building directly across 91st Street and another directly across Madison Avenue.
Local community activists, however, protested and eventually enlisted Woody Allen, the movie director, comedian and actor who had recently bought a large mansion around the corner on 92nd Street, in their campaign.
The site's location is in the heart of Carnegie Hill, a half block from the National Museum of Design that is housed in Andrew Carnegie's former fenced mansion on Fifth Avenue, and very close to several private schools, several churches, and several museums as well as numerous boutiques and restaurants on Madison Avenue.
Because the site was in an historic district, the activists appealed to the city's Landmarks Preservation Commission to reject the project's design. The commission did so and the developer revised his plans and resubmitted them. The new plans called for a smaller building.
In February, 2000, Mr. Allen distributed copies of a three-minute video he had made to argue against what he termed an "egregious mistake." The Carnegie Hill Neighbors argued that "the vulnerable Citibank site is on the first of three consecutive Madison Avenue intersections that comprise the 'Commons,' our designation for the three-block section that surrounds the intersections of 91st, 92nd and 93rd Streets in the heart of Carnegie Hill....One unifying element of the 'Commons' is the unusual prevalence of rowhouses - 29 in total, all built by 1890...A further unifying element is that two-thirds of these were designed by only two architects, James E. Ware and A. B. Ogden....Of the 29 original houses, 21 remain essentially intact. Remarkably, the structures that replaced the eight demolished rowhouse are either of equal height or lower, thus maintaining the low scale character...While taller buildings also exist at each intersection, their dominance is mitigated by the pattern in which they are arranged. At each intersection, at least two buildings are low in scale and positioned so that they diagonally opposite each other... Of the three intersections, this was originally the lowest, but in the last 70 years, two tall buildings have replaced the lower structures of the other two corners. There is, therefore, no room for a third tall building at this intersection if the low-scale village feeling is to be preserved and the northward march of the canyon walls is to be avoided."
Clearly, if this logic were to be followed, one might surmise Manhattan should be razed to the ground. Look out for those canyon walls. What's so special about about 1890? Why not roll back the clock to 1690, or 1490?
Community activists, of course, very often raise very legitimate and important concerns and not every developer, of course, is inspired.
Like the presence of Jackie Onassis in controversies over the landmark status of Grand Central Terminal and the length of shadows that might be cast by a proposed new tower on the site of the New York Coliseum at Columbus Circle, the presence of Woody Allen as an opponent of a proposed, 17-story apartment building on the northeast corner of Madison Avenue and 91st Street on a site long occupied by a not terribly interesting-looking, one-story bank building was widely publicized and helped to sway the landmarks commission to deny a "certificate of appropriateness" for the proposed tower.
Many of the same activists who campaigned against this project were probably emboldened by their previous success several years before in another nearby development dispute that involved a proposed midblock apartment building on 96th Street between Park and Lexington Avenues. In that case, the activists convinced the city to force the developer to remove 12 stories from the top of the nearly completed building, which became known as the "Too Tall Tower." In that controversy, the developer s plans had been approved by the city and the zoning "error" was made by a Buildings Department official and the tower could have been built legally by moving it a few feet on the same site.
The community activists, of course, are not at fault and are to be praised for their efforts in most instances. The blame lies with the city's politicians and their cowardice and design ignorance.
The bank building occupies a prime site at one of the highest points in the Carnegie Hill neighborhood, which over the last decade or so has become one of the most sought-after residential locations in the city because of its concentration of many schools, religious institutions and high-quality, pre-war apartment buildings with large apartments.
The proposed apartment tower would not have been the first in this stretch of Madison Avenue as Rose Associates erected a 45-story, red-brick apartment tower between 89th and 90th Streets and another highly visible, beige and angled apartment tower was built a few years later on the southeast corner of the avenue at 94th Street. Furthermore, most of the avenue in the immediate vicinity and to the south and west is filled with apartment buildings of 12 to 18 stories.
The proposed design by Platt Byard Dovell was very much in conformity with the general massing of most of the surrounding apartment buildings and was, indeed, in some ways better because its façades had large multi-paned windows that gave the project a handsome texture that employed an old design treatment with a nice and modest touch of modernity that was not out of keeping with some of the nearby Art Deco buildings.
The one glaring problem with the proposal was its exposed watertank. Exposed watertanks flourish and abound on the city's skyline and many people find them rather quaint, despite the fact that some of the better developers and architects have often found very interesting and decorative ways to enclose them to add a handsome flourish to their projects.
The exposed watertank, however, was not highly visible from most directions and the proposed tower's aesthetics were certainly no worse than the similar size apartment buildings directly across the avenue, a white-brick building, and across 91st Street.
A closer reading of the developer's proposal, however, revealed that the developer and architect had indeed paid great attention to the question of exposed watertanks and found that almost a majority of the apartment buildings with an adjacent area of several blocks had exposed watertanks.
The exposed watertanks are incongruous with the otherwise quite distinguished architecture of many of these old buildings and this plan visually hid part of the exposed water tank with a vertical element on the avenue side.
While the developer and architect obviously covered their tracks on the watertank issue with their extensive documentation, the exposed watertank was a design element that should have been decoratively enclosed given the prominent visibility of the site and while this would obviously be more expensive for the development it would not significantly alter the building's economics most likely.
It should be pointed out that the existing building on the site was particularly unattractive. While its red-brick masonry is pleasant, the building has no design distinction and is rather blatantly festooned with large blue and white signage for Citibank that is perhaps as offensive to this "refined" neighborhood" as a rather stark and bold sign for a Duane Reade notions store that opened up a couple of years ago two blocks to the south on the avenue in a mid-block location with less visibility than the bank's sign. Such signage is not discrete and is very commercial and not in context with the overall neighborhood pattern.
The opponents to the proposed tower did not argue to preserve the existing building out of love for its architecture or its signage, but because it was only one-story high it did not cast shadows on the mid-block gardens to the east, including one recently purchased by Woody Allen, and therefore also opened up vistas of the handsome mid-block buildings on 91st Street and the graceful spire of the Brick Presbyterian Church on Park Avenue at the end of the block.
An argument could be made that the occasional low-rise block on Madison Avenue permits a greater sense of openness and more "light and air," zoning concepts that are valid in many instances. This is one of those sites that deserve such consideration since the buildings that occupy the north half of the avenue blockfront adjacent to the proposed tower on the east side are not only low-rise but quite charming.
There is a real problem, however, with this approach as it permits Historic Districts to override local zoning and subject property owners within them to the current whims of local community activists and the Landmarks Preservation Commission.
Views and shadows have no legal standing in the city's zoning and indeed history for the true character of New York is its changing, eclectic skyline, which would be not exist if the protectors of views and shadow-chasers had their way.
There are some occasions, one must admit, where some views are very important and perhaps should be held sacrosanct, or somehow protected. Perhaps the most obvious example is the blocking of much of the view from north of 59th Street on Fifth Avenue of the Empire State Building by the handsome and interesting skyscraper at 712 Fifth Avenue.
In earlier times, one could argue that Trinity Church's spire at Wall Street and Broadway should not have been topped by adjacent buildings, and indeed the City of Philadelphia did debate for a while not permitting new towers to rise above its sensational and tall City Hall, although in the end taller towers were built. The view of New York's own City Hall was blocked for many years by a wedding-cake pile of an office structure at the south end of City Hall Park.
Conceivably, the city could have enacted legislation that would require a public review and approval process for specific, extraordinary individual New York City landmarks, but it has not, instead creating Historic Districts in which all proposed changes must be approved by the Landmarks Preservation Commission, as in this case. The only building in this case whose view would be partially blocked from one direction is the Brick Presbyterian Church and the view that would be partially blocked is of its back and the blocking of that view is not catacyclismic to the aesthetic stability of the church or the city.
All that one can say to the few residents who might have to suffer altered views or more shadows is "tough." A basic premise of the city's zoning in residential areas has long been that midblocks should be low-rise and taller buildings permitted on the avenues, which are broader than the sidestreets.
Views are a very expensive premium in New York real estate and understandably so, but New York City real estate is sold "as is" and developers and owners do not have infinite control of views in all directions from their properties and it is preposterous to suggest that they should or could.
In 1961, four years before the city finally got around to creating a landmarks law, the First National City Bank, the precessor to Citibank, demolished four Queen Anne townhouses that were built in 1885-6 on the northeast corner of 91st and Madison Avenue and had been acquired by the bank in January, 1950.
It erected a one-story building on the site in 1951 that was designed by Lusby Simpson, an in-house architect for the bank, who died in 1954.
When the city's Landmarks Preservation Commission created a Carnegie Hill Historic District, it specifically excluded this site, perhaps because there were few defenders of its architectural merit. Subsequently, the commission significantly enlarged the historic district and this site was included and as such any exterior change to it must be approved by the commission.
The developer applied to the commission for approval to erect a 17-story apartment building to replace the one-story bank structure and the commission held a hearing on the application at which some civic groups such as the Carnegie Hill Neighbors and residents urged the commission to turn down the application, primarily on the grounds that they did not want a tall building on the site although one is permitted under zoning.
The controversy is fairly classic Not In My Back Yard (NIMBY) syndrome. People entrenched in an neighborhood want to preserve their views and therefore their property values, maintain the status quo and prevent more people from living in the neighborhood.
In the 1960's and 1970's, some inroads were made by regional planners and civil rights activists against what was then called "exclusionary" zoning in some suburbs that made it difficult economically for new people, especially not superwealthy people, from acquiring property. Some local zoning regulations were rewritten that somewhat eased the "restrictiveness" of such laws and some progress has been made to prevent them being used for racial discrimination.
In the 1970's, the environment movement had its biggest victory when Marcy Benstock campaigned successfully to block the city from receiving more than a billion dollars in Federal subsidies to create very significant new park land along the Hudson River in Manhattan as part of the Westway plan to rebuild the deteriorated West Side Highway. She was, remarkably, able to convince Federal courts and the Army Corps of Engineers that some fish habitats might be disturbed by the large planned landfill that would have been the second greatest park in the city after Central Park. Her Goliathesque victory emboldened neighborhood activists all over the city to wage vigorous campaigns against almost all new proposed developments. Some were opposed because they were considered locally undesirable local uses (LULUs), others because they were considered not to be in context architecturally, others because they were too big, and others just out of plain, good old American oneryness.
Some major projects suffered agony for many years before being reborn in different guises, most notably the plans of Prudential Life Insurance Company and Park Tower Realty to redevelop West 42nd Street and of Boston Properties, which is headed by Mortimer Zuckerman, the publisher of U. S. News & World Reports and the New York News, to erect a large, mixed-use tower on the site of the New York Coliseum at Columbus Circle. The grandiose former plan was subdivided after tortuous years of legal challenges and subsequently developed in a rather helter-skelter fashion mostly by other parties after the original plan and commitment had led to the incredible renaissance of Times Square. The latter plan was thwarted by a group of civic activists that had support by the Municipal Art Society and such well-known figures as Jacqueline Kennedy Onassis and Bill Moyers, the journalist, who argued that the tower would cast terrible shadows in Central Park but who calmly chose not to call for the demolition of the General Motors Building or all of Central Park South, which also cast such shadows.
The courts have extended citizens protections from many things, but not yet shadows.
How could these concerned citizens be so successful in battling the forces of evil they perceived?
The answer traces its roots back to the early days of tabloid television when the loudest screamer at a rally would get the most air-time and to the empowerment of local community boards, which were created in the 1960's and given an important role in zoning some years later when the city revised some of its Uniform Land Use Review Process (ULURP) procedures. There are 12 community boards in Manhattan and many more in the other boroughs. Any development project that is not "as-of-right," that is, which requires any public approval, or variance, must be submitted to the ULURP process.
The real responsibility for preventing aberations and abuse of the landmark process is a responsible, accurate and timely press for it is the duty of the press to alert and bring pressure on politicians and the public.
The design of the proposal tower was conservative, dignified and rather contextual.
In March, 2001, the developer presented a scaled-down, revised plan for the site that called for a building of 10 stories, but the civic activists continued their opposition and convinced Community Board 8 to vote against it. The Landmarks Preservation Commission scheduled a April 3 meeting on the revised plan and in November, 2001, the developer presented yet another revised plan that lowered the building height to 9 stories plus penthouse but Community Board 8 remained opposed and recommended that the new plan be turned down by the city's Landmarks Preservation Commission.
In December, 2001, the city's Landmarks Preservation Commission approved the developer's third proposal for the site but requested a revised treatment of the building's windows.
In early 2003, construction finally began on the 9-story building by the Tamarkin Company. The building will have seven full-floor apartments and one duplex penthouse with a one-story rusticated base and a beige-brick façade. The building will have its entrance at 47 East 91st Street. While it certainly is much more attractive than the one-story red-brick retail building it is replacing, it is much smaller than the other corner buildings at this intersection. It is sedate and nice, but not terribly exciting and not as interesting as the developer's previous plans. Another victory for tasteless and selfish community activists who haven't the foggiest notion of why the city was great.
The new building's façade is distinguished by tall corner windows at Madison Avenue and 91st Street. The corner windows are taller than the building's other windows and the second floor windows have 8 panes while the others have six panes. The windows are slightly indented into the façade which gives it substantive modulation. The façade, unfortunately, is two tones of beige brick that give it a rather motley appearance. It might have been nicer with red-brick to be more in context with the low-rise buildings just to the north, but on the other hand the beige façade is in context with the building just across 91st Street. This building has a nicely rusticated one-story limestone base.
What is most notable about the building apart from its superb location is that there is only one apartment per floor and the apartments are quite large: 4,000 square feet with 32-foot living rooms and 16-foot-square kitchens. In mid-2004, asking prices for the remaining apartments were between $7,865,000 to $10,475,000. The building also has a duplex penthouse with 5,815 square feet of interior space and 2,113 square feet of terraces and an asking price of $14,525,000.
350 West 42nd Street, between Eighth Avenue & Ninth Avenue | Midtown West View on Map
Located in Clinton at 350 West 42nd Street, the Orion is a soaring tower with 550 residences.
Apartments offer excellent views of the city skyline, especially those on the upper floors of the tower, which is more than 600 feet tall. Units have ceilings between 8 and 9 feet, modern appliances and well-appointed bathrooms. Situated between Eighth and Ninth Avenues, the Orion is close to many restaurants and nightlife options in Clinton, a neighborhood located near Midtown, the Theater District and Columbus Circle.
A full-time doorman and concierge service, a full-service garage, a private fitness center, a swimming pool and a rooftop terrace are among the Orion’s amenities. It is also steps from excellent public transportation options, allowing residents to easily travel anywhere in the city.
330 Spring Street, between Greenwich Street & Washington Street | SoHo View on Map
Located in SoHo at 330 Spring Street, the Urban Glass House opened in 2005.
Renowned architects Philip Johnson and Alan Ritchie designed the Urban Glass House, which contains 39 units and a penthouse. Apartments feature tall ceilings and full-height windows; custom kitchens have stainless steel appliances and bathrooms are equipped with modern fixtures. Residents also have access to a remote-controlled system that allows them to wirelessly open and close the computerized window shades.
Urban Glass House, which is the last residence Johnson designed before his death, overlooks the Hudson River at the intersection of north TriBeCa and south SoHo. Its amenities include a bicycle storage room, a fitness center, an attended lobby, concierge service and a live-in superintendent. It is close to TriBeCa’s restaurants and SoHo’s retail shops and public transportation.
1 Main Street, between Plymouth Street & Water Street | DUMBO View on Map
The Clock Tower Building is located at 1 Main Street in DUMBO.
The 12-story Clock Tower Building’s prominent location on the Brooklyn waterfront overlooks the East River. It contains 126 converted lofts that are equipped with modern, top-of-the-line appliances and fixtures and oversized windows that fill rooms with ample natural light. The penthouse unit at 1 Main Street offers stunning views of the Manhattan skyline and has been featured in a number of editorial campaigns and television shows.
Amenities in the Clock Tower include concierge service, central air conditioning and heating, a roof deck and a fitness center. It is near the shops and restaurants in the surrounding neighborhood and is close to the Brooklyn and Manhattan Bridges and public transportation.
205 East 85th Street, between Second Avenue & Third Avenue | Yorkville View on Map
Designed by the world-renowned architect Robert A. M. Stern, the Brompton at 205 East 85th Street is located in the Upper East Side.
The Brompton was completed in 2008, is a Gothic-inspired and has generously sized residences and elegant details. Ranging from studios to townhouses, the 206 Brompton apartments have elegant kitchens featuring maple cabinetry and state-of-the-art appliances; master bathrooms are equipped with vanities with double sinks, six-foot soaking tubs and glass and marble shower stalls. Some apartments have fireplaces and Juliet balconies, while the duplex Townhouses have elevators. All residences have oversized windows, washers and dryers, entry foyers and walk-in closets.
The Brompton's hotel-style amenities include a personal assistant to handle everything from making restaurant reservations and spa appointments to arranging pet and child care. There is a landscaped interior courtyard for residents and ownership comes with a membership to the adjoining Equinox Fitness Club, which has a private lounge for Brompton residents and a full-service spa along with premium fitness equipment.
The residential Yorkville neighborhood is near Carl Schurz Park, the jogging path along the East River, public transportation and excellent local shops.
2109 Broadway, between West 73rd Street & West 74th Street | Broadway Corridor View on Map
The Ansonia, designed by noted architect Paul Duboy, opened in 1904 as a luxury hotel stretching along Broadway between 73rd and 74th streets. By the 1970s it was converted into rental apartments and it is now a designated Landmark on the Upper West Side.
Most of the 430 apartments retain such original architectural details as glass and mirrored doors with transoms, intricate herringbone hardwood floors and delicate paneling. Still, all units have been fully modernized with new kitchens, renovated bathrooms and sizeable closets.
Close to Riverside and Central Parks and near Lincoln Center, the Ansonia has long been a favorite destination of celebrities. Many original amenities are there, including the recently redone carriage entrance with its block-long lobby. The roof garden, 12-foot wide corridors, exquisite staircases and posh elevators have been beautifully restored. What’s more, in the main lobby a new lounge, front desk and concierge have been added. It also has an expansive underground garage.
525 West 22nd Street, between Tenth Avenue & Eleventh Avenue | Chelsea View on Map
This attractive, 6-story building was erected in 1893 as a commercial structure and converted by Savanna Partners into 30 loft apartments in 1996.
The mid-block building houses several art galleries such as D Amelion Terras and DCA Gallery. The Dia Center for the Arts is further down the block.
The building is distinguished by façades studded by shutter hinges and two exposed watertanks.
The building has an entrance marquee that is angled slightly upwards and a half-story limestone base. It has high ceilings, consistent fenestration and no sidewalk landscaping and no garage.
It has a good location in the West Chelsea district that is home to many art galleries and restaurants and there is good cross-town bus service on 23rd Street.
The Chelsea Piers recreational complex is nearby.
400 East 67th Street At The Northeast corner of First Avenue | Lenox Hill View on Map
The Laurel is a 31-story condominium tower at 400 East 67th Street on the Upper East Side. Designed to be energy efficient and environmentally sustainable, it is LEED-certified.
It features residences that have solid oak wood flooring, large windows, ceilings between 9 and 12 feet and Bosch washers and dryers. Units range from studios to four bedrooms.
The pet-friendly Laurel’s amenities include the Trophy Club, a bi-level fitness and triathlon training center, and the Laurel Club, a two-story space equipped with a screening room, a dining room, a catering kitchen and a game room. Concierge service, a full-time doorman and parking are also offered.
St. Catherine’s Park is nearby, as are a number of restaurants.
25 North Moore Street, between Varick Street & Hudson Street | Tribeca View on Map
Built in 1924, the Atalanta at 25 North Moore Street in TriBeCa is a 17-story former warehouse for butter, cheese and eggs that was converted into loft apartments in 2001.
It has three lofts on each floor that range in size from 1,914 to 2,926 square feet. Atop the Atalanta are two terraced, duplex penthouses of 4,500 square feet and 5,200 square feet, one of which has outdoor space in the form of an addition on top of the building. Units were sold as raw space, allowing the owners to get creative with the interior design and layout.
Amenities at the Atalanta include a 24-hour doorman, state-of-the-art wiring and a sundeck. 25 North Moore Street is situated close to restaurants and shops and public transportation is also nearby.
15 West 53rd Street, between Fifth Avenue & Avenue of the Americas | Midtown West View on Map
Located in the heart of Midtown, the Museum Tower at 15 West 53rd Street was developed in 1983 as part of a redesign of The Museum of Modern Art.
The 52-story tower includes six floors of museum space and has 240 apartments. Featuring high ceilings, floor-to-ceiling windows and oversized rooms, the Museum Tower’s apartments are grand, airy and brimming with natural light. Walls of windows frame views of Central Park and the city skyline and many open to the MoMA’s sculpture garden.
The Museum Tower's amenities include hotel-quality doormen, concierge, valets and elevator attendants, a fitness center with a sauna, a steam room and a meditation room, a screening room, a business conference room, a wine storage room, a landscaped roof terrace and housekeeping and laundry services.
Carnegie Hall, Lincoln Center and the Theater District are all located nearby.
263 Ninth Avenue, between West 25th Street & West 26th Street | Chelsea View on Map
The Heywood at 263 Ninth Avenue was converted from a printing house into apartments.
H.J. Development Corporation oversaw the transformation in 2005. The Heywood, which now includes 50 residences, has a unique history that dates back to the early 20th century. Its architects strived to ensure they preserved its historical context, crafting spacious lofts with large windows and maintaining original details and other touches. Apartments feature 12 ½-foot-ceilings; kitchens are equipped with modern, premium appliances; and residences range from 1,200 to 3,150 square feet.
The Heywood is close to Chelsea’s many restaurants, retail stores and art galleries.