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"Gwathmey Siegel "
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RENOVATED GUGGENHEIM STILL A WORK OF GENIUS -- AND CONTROVERSY
A work of art in itself, the building was the last in a long line of masterpieces by legendary architect Frank Lloyd Wright. As fate would have it, Wright died just six months before it was completed. But as a testament to his vision, this unique structure, with its famous inverted ziggurat spiral, stands today as one of the most recognizable buildings in the world. Wright originally envisioned three distinct areas to the museum -- the large rotunda that housed the spiral, the Monitor Building for administration, and the \"background building.\" When [Gwathmey, Siegel] first proposed the new 10-story tower, his design was drafted from an original 1951 drawing by Wright himself, who wanted to incorporate a \"rectilinear foil to the curvilinear museum,\" as a backdrop. The exterior of the tower, the most controversial aspect of the restoration, is made of Indiana limestone, chosen by Gwathmey for its neutral color, its references to Fifth Avenue and the adjacent buildings and its compatibility to the Wright building. On its facade it incorporates what is called a \"tartan\" grid, which, according to Gwathmey, is reminiscent of Wright's unbuilt tower.
Newspaper Article
Ten Houses: Gwathmey Siegel
Abercrombie reviews \"Ten Houses: Gwathmey Siegel,\" edited by Oscar Riera Ojeda.
Book Review
A CHANGE OF SPACE
Most are. But a Manhattan couple with an outstanding collection of American antiques decided to take a chance. ''Although Charlie Gwathmey and I were old friends, it was still a great leap of faith,'' one of the clients recalls. ''I firmly believe that it's a misconception to think modern architects are limited. When you pair the best of any two sensibilities, you usually can't miss.'' Two years of renovation resulted in a project Gwathmey admits expanded his sensibilities. ''The job came at a particularly interesting time,'' he says. ''We had just begun designing the addition to the Guggenheim Museum. Both projects involved working with existing conditions, which was a great exercise in tolerance. My architecture has become richer for it.''
Newspaper Article
Skyline stars of NYC New works salute Gwathmey Siegel's bold urban vision
The work of architects Charles Gwathmey and Robert Siegel seems ill-suited to New York. Their love of brash geometric buildings mixing sharp angles and swooping curves is at odds with the city's rigid grid. But Gwathmey Siegel & Associates was, and is, one of the city's most successful and influential architecture firms of the past half century. To see its indelible impact on the skyline, look no farther than a pair of new monographs just released by Rizzoli. Gwathmey, who died of cancer in 2009, was often described as macho, and his work with Siegel has a certain swaggering elegance. Take, for example, the undulating \"Sculpture for Living\" condos that ripple above Astor Place. \"We always felt there was an abstract and artful nature to making buildings, going back to ancient times, but it should never be abstract for its own sake,\" Siegel tells The News. It's larger buildings like the glassy Astor Place tower that are the focus of \"Gwathmey Siegel 3: 2002-2012,\" and the suave strut in those projects sometimes seems out of step with the surroundings.
Newspaper Article
Charles Gwathmey, architect of influence and vision, is dead; Charles Gwathmey, architect of vision and influence
Many of Mr. Gwathmey's best buildings were houses. A series of wealthy clients -- including Steven Spielberg, David Geffen, Jerry Seinfeld and Jeffrey Katzenberg -- chose him to create living spaces that were boldly geometric and luxuriously appointed, modern but certainly not spare. Among architects, Mr. Gwathmey was admired for his steadfastness during the 1980s, when some of his contemporaries turned to historicist, or post-Modernist styles. \"A lot of people jumped ship, but Charlie was loyal to Modernism,\" said Peter Eisenman, the architect and theorist. Vice President [Joseph Msika] of Zimbabwe, who served in President Robert Mugabe's government for two decades, died Wednesday at the age of 86, state radio reported, according to The Associated Press. No cause of death was immediately given. Mr. Msika had been treated on several occasion for an unspecified illness in neighboring South Africa. State radio said Mr. Mugabe had announced Mr. Msika's death to the party's leadership.
Newspaper Article
All That Curvy Glass: Is It Worth It?
So, when I read that Charles Gwathmey and Robert Siegel, who are partners in one of America's greatest architectural firms, had designed a building at Astor Place on an unusual triangular site on the western edge of the East Village, I was intrigued. As a design journalist, I had always admired Mr. Gwathmey's work: the glorious apartment he designed for Faye Dunaway in the late 1960's, Ralph and Ricky Lauren's amazingly sculptural Fifth Avenue home or his own perched-over-the-Central-Park-Reservoir-with-museum-quality-Wiener-Werkstatte furniture-filled space were perfect examples of their kind. This was Mr. Gwathmey's first residential tower, and his marketers said he had a very hands-on approach to the interior details. As I'm admiring the bathrooms, I'm informed that Mr. Gwathmey took a special interest in making them as luxurious as possible. There is a white marble-enclosed tub, a large glass-doored shower and curved black granite sinks, each carved from a single piece, and set on cherry-wood vanities. The living room of one of the 2248-square-foot apartments in the Astor Place building designed by Charles Gwathmey has views in several directions through an undulating glass wall. (Photo by Marilynn K. Yee/The New York Times)(pg. 1); A MINIMALIST LIFE -- The master bath has a white marble-enclosed tub and a large glass-doored shower. In the kitchen, a long freestanding island of dark gray granite encloses the stainless steel sinks. The building's exterior is in marked contrast to the low-rise East Village neighborhood. (Photographs by Marilynn K. Yee/The New York Time)(pg. 12)
Newspaper Article
GUGGENHEIM ADDITION ALTERS A FRANK LLOYD WRIGHT ORIGINAL
Here's where the compromise comes. The problem isn't that this new addition imposes on the Guggenheim, as the first version would have done. No, the limestone slab that finally got built is so well mannered that it defers altogether to Wright's powerful building. It would appear to be doing exactly the right thing: its patterned grid of limestone hangs behind the Guggenheim like a genteel curtain. But this calm, ordered smoothness nonetheless manages to change the relationship between [FRANK LLOYD WRIGHT]'s dramatic, circular building and the rest of the city.
Newspaper Article