STATUS
COMPLETED
CLIENT
Witkoff / FAENA
TYPOLOGY
Residential
SIZE M2/FT2
83,000 / 893,405
SHARE
One High Line is located along the High Line in NYC, neighboring a cluster of buildings by Frank Gehry, Jean Nouvel, and Shigeru Ban among others.
The sculptural geometry of the two towers is a direct response to their dense context. At the base, the two towers pull away from each other and the neighboring buildings to maximize urban space and views. The twisting geometry at the corners of the towers reduces the overall bulk of the buildings and creates additional separation between them.
ZONING
— The zoning regulations of NYC require a 60-85 ft podium with two independent towers. Given the site is a full city block, both city and river views are achievable with a simple massing of two towers inside the zoning envelope.
TOWER CUTS TO AVOID OVERLOOKING
— A perpendicular plane running southwest to northeast slices through the two towers to create an initial separation between the volumes. This allows for the east tower and the west tower to have both city and water views.
BASE SETBACK FROM NEIGHBOR
— The towers must respond to the warehouse building located to the south. The base of the towers is set back to create separation. This rotation offsets the loss of area at the base and is also a way of transferring the square footage to a location that can achieve better views.
ROOF SETBACK FROM NEIGHBOR ON SOUTH
— 1HL must also set back from a proposed 250 ft tower to the north.
RULED CORNERS
— Two corners on each tower are carved away, which creates additional separation between the residential units, helps reduce the overall volume, and emphasizes the movement of the towers as they rise.
PODIUM BRIDGES
— To allow for continuous circulation in the podium as well as a through block connection, independent bridge elements are added between the podium volumes. These double height spaces contain unique programmatic elements.
STEPPING, PUNCHED WINDOW OPENINGS
— Inspired by the punched windows in the historic warehouses of Chelsea, the façade is designed as a stone volume with punched openings spanning between sloped columns.
The two towers are connected as they rise 300 and 400 ft into the sky. Their sloping facades open up and allow light and air to descend into the pocket park of the courtyard.
"The sculptural form is a direct response to the site's historic industrial heritage and contemporary architecture. It is the means, not the end. The resulting architecture merges the past and present of Chelsea into a new hybrid identity."
The façade design is inspired by the punched windows seen in the historic warehouses of the Meatpacking and West Chelsea neighborhoods. The façade patterning functions as an honest expression of the gridded structural logic of the building, which steps to follow the movement of the towers’ geometry.
A through-block street between 17th and 18th Streets will provide tenant and visitor access to the residential lobbies, with a vehicular drop-off at a landscaped mid-block inner courtyard. The hotel will be accessed on 18th Street adjacent to the High Line. The project also includes below grade parking, a five-story commercial building, and a multi-level retail space with frontage below the High Line, facing a public plaza along 10th Avenue.
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Bjarke Ingels Thomas Christoffersen Beat Schenk Alana Goldweit Amir Mikhaeil Andreas Buettner Hector Romero Jan Leenknegt Margaret Tyrpa Pauline Lavie-Luong Gabriel Jewell-Vitale Douglass Alligood Hung-Kai Liao Benjamin Caldwell Joanne Zheng
AWARDS
International Architecture & Design Award, 2024
COLLABORATORS
Woods Bagot
Enzo Enea
Langan
WSP
Cosentini Associates
Gabellini Sheppard
Gilles and Boissier
GMS
Tillotson Design Associates
AKRF
Es Devlin
