1/14/2024 0 Comments 3 columbus circleOn this floor, all bathroom floors are heated and have Toto toilets and onyx finishes throughout. The upper floor houses three generous sized bedrooms and 4 baths which includes an oversized superb sauna. In addition, there is a full laundry and bath with a double vanity. The island kitchen is perfection with Kinon cabinets and all top-of-the line appliances. The living room with its direct Park views, ventless fireplace with a white onyx surround and pocket doors that lead to the fabulous media room. The entry foyer includes a powder room, and two large closets. The stunning Shagreen tile wall covering, the amazing hammered bronze elevator doors, the serpentine shaped walnut under lit staircase, and the amazing view of Central Park greet you upon entering the foyer. This light flooded home has additional impressive special features successfully created by a perfectionist whose goal to create a superlative "one of a kind" living experience was met. There is an oversized living room/dining room, three bedroom, a media room, a laundry room, a spectacular kitchen, 5 1/2 bathrooms including an oversized amazing sauna. Situated at the Southern Gateway to Central Park at the iconic, The Deutsche Bank Center ( formerly known Time Warner Condominium), this newly renovated high floor, incredible duplex residence consists of 3,491 square feet and glorious views of Central Park from every room. This light flooded home has additional impressive special. Completed in 2008, the structure now showcases a contemporary facade, revealing little of the original design.Situated at the Southern Gateway to Central Park at the iconic, The Deutsche Bank Center ( formerly known Time Warner Condominium), this newly renovated high floor, incredible duplex residence consists of 3,491 square feet and glorious views of Central Park from every room. However, after a long and controversial battle, the Museum of Arts and Design was given permission to replace the facade in 2005. The proposal for a redesign of the building was carried out by Allied Works Architecture, and set off a strong effort in the architecture community to preserve Stone’s structure, hoping to give it landmark status. The property was then purchased by Gulf and Western Industries in 1976, and given to the city. Hartford sold the building in 1969 to Fairleigh Dickenson University, creating the New York Cultural Center. However, like many of Hartford’s other investments, its success was short-lived, closing after only 5 years of operation, primarily because he could not attract the contributions needed to cover operating costs. Regardless of its critical reception, the gallery instantly became a popular destination for locals and tourists upon opening. Others, such as Stuart Preston, art critic for Apollo, felt that “there can be little criticism of the building itself”, recognized the many obstacles that Stone overcame to make the building work. Bearing a strong resemblance to Ca’ D’Oro or the Doges Palace in Venice, Stone himself could not deny the influence of Byzantine architecture, the root of the Venetian Gothic style. Like most projects that push boundaries, its critical reception was mixed, though most critics, like Huxtable, were not fond of the design, often referencing kitsch regarding the use of ornament on an otherwise modern building. The gallery’s glamorous interior decor, which bore a stronger resemblance to an upscale residence than to a cultural facility, was intended to inspire visitors to purchase art for their own homes. With a circulation scheme similar to Frank Lloyd Wright’s Guggenheim Museum, patrons would take the elevator to the fifth floor and gradually descend a half level at a time, as the large landings, which were initially intended for smoking and sitting, also contained art pieces. In addition to the 154-seat auditorium below grade, there is generous storage and administration space above the gallery as well as a lounge and restaurant on the upper floors, which utilize a loggia for views of Central Park. Featuring a program similar to the Museum of Modern Art, which Stone also designed, the first four levels above ground housed artificially lit, permanent and temporary collections. Numerous setbacks, including a lawsuit from the Museum of Modern Art, a strike by concrete workers, a change in museum directors, and the unexpected need to blast through solid rock, delayed the completion until 1964.
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