IN THE MATTER OF: LANDMARKS PRESERVATION COMMISSION HEARING PUBLIC MEETING 8W 70th STREET March 14, 2006 HELD AT: 1 Centre Street, 9th Floor New York, NY TRANSCRIBER: SARITA VIALES www.protectwest70.org
IN THE MATTER OF:
LANDMARKS PRESERVATION COMMISSION HEARING
PUBLIC MEETING 8W 70th STREET
March 14, 2006
HELD AT: 1 Centre Street, 9th FloorNew York, NY
TRANSCRIBER: SARITA VIALES
www.protectwest70.org
I N D E X
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PROCEEDINGS 3
MALE VOICE 1: Thank you.
FEMALE VOICE 1: [Unintelligible]. Go
back to item number one, an application for
(inaudible] Borough of Manhattan, Docket
number 0 [inaudible], Lot 1120, Lot 36, 37, 8
West 70t'' Street, [inaudible] Shearith Israel
Synagogue,. Individual Landmark, and also the
Upper West Side, CentralPark West Historic
District. An Academic Classical and Beaux-
Arts Style synagogue designed by Brunner &
Tryon, and built in 1896-97. Application to
demolish the existing community house and
construct a new building. And this was last
presented to you on January 17th
MALE VOICE 2: Yeah, yeah, I know. I
know.
[Person whispering]
MALE VOICE 1: Sure, let me just find
[inaudible]. That one?
MALE VOICE 2: [Inaudible].
[Background Noise]
FEMALE VOICE 2: Good morning,
Commissioner [inaudible].
MALE VOICE 2: [Unintelligible].
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PROCEEDINGS 4
MALE VOICE 3: Yes, Your Honor,
[unintelligible].
MS. MAISHA HUNTER: Maisha Hunter, M-A-
I-S-H-A, Hunter, H-U-N-T-E-R. Good morning,
Commissioner [inaudible] Preservation to
stop. The application before you was
[inaudible] a proposal to demolish the
community house [inaudible).
[Background Noise]
MS. HUNTER: And also construct a new
[inaudible].
[Background Noise]
MS. HUNTER: [Inaudible] prior to
[unintelligible]. We'll present the changes
that have been made to the proposal since the
application was last presented.
MALE VOICE 1: And-I'll take a motion
please to open the hearing for that purpose.
MALE VOICE 2: [Unintelligible].
MALE VOICE 1: Second, without objection
the hearing is open, and thank you Maisha.
Can [inaudible]. We're going to wait a
moment and try to get the stenographer all
cleared up. If you bear with me, everyone,
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PROCEEDINGS 5
bear with us all.
MALE VOICE 2: [Inaudible].
MALE VOICE 1: [Unintelligible).
MR. CHARLES PLATT: [Unintelligible]
Charles Platt, Platt (unintelligible], this
is Ray Dobell [phonetic]. We're going to
take you through the responses that we have
made to the last hearing -here where there was
discussion of a number of issues, the height
of the penthouse, the number of floors on the
penthouse [inaudible).
[Background Noise)
MR. PLATT: [Inaudible] increase to the
size of the penthouse, the change to the base
of the building, the entry through this
addition into the synagogue, and the change
of an expression of the ends of spandrel,
brick spandrels on [inaudible]. Those three
changes are what we will take you through.
Ray Dobell, (inaudible) will begin with basic
changes. We have the proposed change over
here, and the last change we looked at here
in [inaudible). So this is new, this is old.
[Unintelligible] the first thing you'll.see
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PROCEEDINGS 6
is the, previously had the, the penthouse on
this level, we have a roof, the penthouse.
[Unintelligible] the streetscape and we
have pushed. it back one foot six inches from
(inaudible] the synagogue. And [inaudible]
that is best shown on the next tier. This is
the general streetscape if you remember, and
in relation [inaudible] of this penthouse to
the adjoining building and the rest of the
block. (Inaudible).
MR. RAY DOBELL: This shows more
directly, walking down you can see the
profile [unintelligible]. [Inaudible] here,
the profile (inaudible) Central Park West
[inaudible] here. Again, we're going to
[inaudible] six feet and push it back from
the face of the synagogue to the new location
there.
MR. PLATT: [Unintelligible] mention
this (inaudible] in general here that there
was some discussion and question last time
about the expression at the end of these
spandrels here and the base of the building.
We will take you through those in detail as
Ubiqus/Nation-Wide Reporting & Convention Coverage22 Cortlandt Street - Suite 802, New York, NY 10007
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PROCEEDINGS 7
we come to them.
MR. DOBELL: Here is a rendering of, of
the new design, and what you'll see we have
done to address the concern of the lack of
additional support of the spandrels, we have
introduced a column feature that connects the
edge of the brick spandrels to the curtain
wall planking the synagogue. And we looked
at that criticism as an invitation to
strengthen the argument for the development
of this facade. So, what we have done in
addition to introducing the column that you
see here is we also shifted the planes of the
glass at that location. And [inaudible] see
[unintelligible] wall here, the glass is now
pushed back approximately a foot from the
brick plane.
So we have the, that points from street
face back to the synagogue [unintelligible].
The brick, [inaudible] brick is at the street
line at zero/zero. The glass within the
[unintelligible] openings and the spandrel
locations is pushed back six inches. The
glass at the corner element here is pushed
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PROCEEDINGS 8
back one foot six. And the limestone
planking is pushed back three foot six from
the street. It works quite nicely, we felt
it gave us an opportunity to strengthen the
entrance sequence, and it resolved quite
nicely the [inaudible] of support.
MR. PLATT: We might just say there that
when you said it strengthened it, we actually
think it was an improvement that the
Commission had helped us in the expression of
that part of the building. So, thank you.
MR. DOBELL: And here we see in detail
how the new, the new street component works.
The column coming through which is, which is
eight inches wide as it planks through the
brick panel, and it grows to one foot three
as it penetrates through to the first floor.
Surrounding the outside of the column we have
two pairs of wood and glass and bronze doors,
which another discussion [inaudible] that the
entry [unintelligible] in connection with
the, with the [inaudible] behind it.
So, the added doors we think really
improve that street character quite, quite
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PROCEEDINGS 9
[inaudible]. We still have the metal and
glass canopy across the front. And the doors
are composed of wood panels with (inaudible]
strips and glass in the center [inaudible],
and you can see how that works down here.
MR. PLATT: In addition to that column
coming down breaks the plane of the canopy
(inaudible] so that it reinforces the
vertical feeling of that and the plane that
you see from, especially from the east
looking west.
(Crosstalk)
MR. PLATT: Very different expression
there for [inaudible).
MR. DOBELL: We have made a cork model
of how the new face works which I'll pass
around. -
MALE VOICE 3: [Inaudible].
MR. PLATT: Position it right here.
MALE VOICE 4: It's a cylinder column?
MR. DOBELL: No, it's a, it is a U
shaped column that's offset to take into
account the change of planes of the brick and
the glass.
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PROCEEDINGS 10
MR. PLATT: You-I think you can see that
better in the plan view when it comes up
[inaudible]. Maybe we could [inaudible].
You have it there.
MALE VOICE 3: [Inaudible] one up above.
MR. PLATT: You, you, you should note
that this column that was set back here,
which Ray mentioned that-this whole plane has
been pushed back so that you see this entire
end now with a metal piece that comes down
the length of the building. And when you see
that [unintelligible] a piece there
[unintelligible]. It points [inaudible], one
points east, and you're looking at
effectively a one foot column from there,
although the expression directly opposite is
somewhat different except at the bottom where
you see the heavy column coming through and
supporting the spandrel end here.
MR. DOBELL: This is [unintelligible]
elevation for the mid section of it again,
just simply showing how [inaudible] offsets
the work through the elevation of the
building.
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PROCEEDINGS 11
MR. PLATT: You can see here, and he'll
pass this to you if you wish the setback of
that, and how you look at that end of the
spandrel. Whereas, it [inaudible] straight
across before this last plane continuing
going through.
MR. DOBELL: And then at the top of the
building you can see [unintelligible] of the
penthouse that we removed, and the, a slight
11 II decrease in the width of it. So we offset
12 11 [unintelligible] from the edge of the
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limestone to the face of the penthouse. It'snow nine foot six where it had been eight
previously. The (unintelligible] that you
see and the [unintelligible] on the top
projects a four foot [unintelligible] off theroof of=the penthouse. [Inaudible] is quite
low (inaudible]. Those are [unintelligible].
MR. PLATT: This is unrehearsed routine
here.
MR. DOBELL: Central Park, Central Park
West.
[Crosstalk]
25 } MR. DOBELL: Okay. The removal of the
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PROCEEDINGS 12
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penthouse that you see here, otherwise, this
elevation [inaudible]. More details
[unintelligible] from the north side of
Street again, [unintelligible] of the
penthouse.
70th
MR. PLATT: And the [unintelligible]
coming down somewhat more than they did
before.
MR. DOBELL: And finally, [inaudible]
rendered elevation of that [inaudible]
showing the same thing. This elevation above
the [unintelligible], the limestone
[unintelligible] of the penthouse and then
15 the [inaudible]. And finally, the back of
16 the building. Again, the only change to this
17 elevation is the, is the reduction
18 [unintelligible]- the rooftop penthouse.
19 11[Inaudible] here's the rendered version.
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(Inaudible]. The single penthouse
[inaudible].
MR. PLATT Otherwise, this elevation is
unchanged.
MR. DOBELL: [Inaudible] before and
25 11 after the next, the old, the similar view to
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PROCEEDINGS 13
before and after [unintelligible] view from
West 70th Street virtually showing no change
because the penthouse is not visible.
MR. PLATT: Except that you do see that
column coming down that (inaudible]
expression, so that as you walk down the
street you sense that very strongly.
MR. DOBELL: In view. number four which
is a view a little farther down 70th Street,
and you do appreciate the column coming
through. (Unintelligible) configuration and
that the column offset. View number five
which is the slot between (unintelligible]
and the synagogue, you're picking up
[inaudible], you're picking up simply a
little less of the penthouse which
[inaudible] 22 there. The view from Central
Park, again, is what's happening here is just
simply picking up less of the penthouse.
This is a (unintelligible) Columbus and
Central Park.
The view number seven is just the view
from [unintelligible] West 69th Street
through the block. You're picking up a.
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PROCEEDINGS 14
little less penthouse in this view. From
Columbus Circle which is something we've
really never been
are just...
MR. PLATT:
[interposing].
MR. DOBELL:
MR. PLATT:
able to see from anywhere
We were asked why
(Inaudible).
And what. you're going to
see, [inaudible] what, what, and what that
image was would be from the avenue, from
Columbus Avenue and that [unintelligible]
true perspective.
MR. DOBELL: And. [inaudible) you
accepted the changes [inaudible].
MALE VOICE 1: [Inaudible] questions?
Thank you all. Thank you, Charles.
MALE VOICE 3: [Unintelligible] and the
elevation, the vertical element? I know the
metal [inaudible] going through the brick
work as well?
MR. PLATT: Channel [inaudible].
MR. DOBELL: The material, we have
[unintelligible] limestone [unintelligible]
at the, at the edge of the building which is
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PROCEEDINGS 15
then under [inaudible]. That then lies at
the too and turns back down 70th Street. And
it also turns the corner on Central Park West
so that the [unintelligible] around the
synagogue is all [unintelligible] limestone,
and arranged in the configuration. The, the
brick is a, is a brick panel which you see
here [inaudible) brick to be put into the
[unintelligible] at that location forming the
residential expression of the building.
The windows themselves, the metal
components of the windows [inaudible] paint
[inaudible] in this color, [unintelligible]
finish on the aluminum. The glass is a one
inch thick insulating glass with
[unintelligible], so it's clear glass. It's
not [inaudible), energy efficient-glass.
Those paint [unintelligible] the column would
be painted of the same color as with the
metal frame (inaudible]. And the metal
[unintelligible] with the glass canopy.
MR. PLATT: The only thing we don't have
here is the white (unintelligible] views as
the screen with the glass at the, at the
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PROCEEDINGS 16
base. There was some discussion last time
about the permeability and the ability to see
through the, these planes of entry down here.
This allows-we take a screening of the
inside, but with the exchange of light and
the ability to see forms behind it as you
would through an open screen. That material
is not here. We didn't have a sample of
white [unintelligible], but that is here, and
these are wood doors with the same
[unintelligible] going in front as the
pattern in front of the door.
MR. DOBELL: And then at the top of the
building we have the same metal and glass
assembled.. And we have flat metal panels
forming out of the penthouse, and that would
be the same [unintelligible]. The back of
the building [inaudible] going through
[unintelligible] brick [unintelligible] in
the back. [Inaudible] the older version of
[inaudible]. All of this brick would be this
lighter buff brick. And here, you can see
how the limestone turns around the corner.
So, the first bay of windows in the back
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PROCEEDINGS 17
would be limestone, and that, you can see in
this location here.
MR. PLATT: All of those [inaudible]
represent the previous [unintelligible).
MR. DOBELL: Limestone wraps the corner.
MALE VOICE 4: And [unintelligible)
those vertical elements that [inaudible]
throughout the entire building, is that
metal?
[Crosstalk)
MR. DOBELL: (Inaudible) be. laid into
the brick that would be `inaudible] the same
[unintelligible].
MR. PLATT: You can see that they are
going through the window, picking up
[unintelligible) there and then continuing
through the brick, and with this horizontal
element crossing the [inaudible).
MALE VOICE 1: [Inaudible] thank you all
very much. Let me preface the discussion
here by saying [inaudible) thank you again
for the presentation today. And then
(inaudible] year (inaudible] work
presentation today. And [unintelligible] if
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PROCEEDINGS 18
you will, discussion. Thank you for the
public hearings that have been held
(inaudible) numerous. This has been a. long
process, but one that I [inaudible] that Ifind today personally, and go around the
table [inaudible], and that has come to an
ending that is an appropriate one and a good
one, [inaudible] the applicant [inaudible),
and I hope for the community ultimately.
And I believe that my concern, speaking
for myself, briefly at the outset was
[inaudible] height and massing of the
building. That [unintelligible) found that
it's come in as compatible with the adjacent
buildings and other buildings besides these
in this historic district. And I think that
result has been achieved, and as a
[inaudible]. I think the design is actually
as we've gone along, and I just heard
expertise of architects and design
[inaudible} skill and expertise and time
that's also gotten better [inaudible] and
more appropriate as that process has
unfolded. So I find myself in a good place
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PROCEEDINGS 19
(inaudible].
And also, again to thank everyone for
what they've-how they've brought us to this,
to this place. So, I [inaudible]
commissioners [inaudible] discussion and
[inaudible).
MALE VOICE 4: Mr. Chairman, before you
conclude the hearing, [inaudible) brief
comment [inaudible] oppositional issues that
united and represented [inaudible] one
[inaudible].
MALE VOICE 1: Let's have this
discussion, and then [inaudible] conclusion
to the discussion.
MALE VOICE 4. Thank you.
MALE VOICE 1: Thank you.
MALE VOICE 5: I think that this
proposal is a wonderful one, and has really
answered all the questions that I have had
about it. Again, I think the massing with
the removal of the upper penthouse is
absolutely in line with the surrounding
buildings, specifically the building
adjacent, with the single setback penthouse
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PROCEEDINGS 20
that is partially visible. I believe that
the addition of the metalwork that terminates
the brick fingers that we call-we labeled
last time as a wonderful solution here, and
has strengthened the entrance, and has
provided a wonderful modulation between the
brick masonry on the right, and the glass and
limestone on the left.
Again, I've always felt that the
limestone frame that is adjacent to the
temple and soars over the main bulk of the
building is inspired. And also that there's
a delicacy in this facade that-in the
treatment in the verticals and horizontals of
the metalwork, which will give a level of
detail to this building that will, I think,
be very comfortable and will enhance the
adjacent building. So, it is thoroughly
modern, but I think that it speaks very
eloquently both to the temple adjacent and to
the other brick apartment buildings. And I
guess in sum, I feel this is not merely an
appropriate addition to this district, but a
very positive addition, and will become, I
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PROCEEDINGS 21
think, stand on its own as a landmark in this
district.
MALE VOICE 1: Thank you. Tom.
TOM: I was wondering what would happen
when we first heard this application, I
wondered where the applicants would go
because there was a great deal of concern
about the height of the building, and its
relationship to the streetscape and the
historic district. And I, I felt the
applicant had a daunting task to respond to
some of the objections that were raised. But
my feeling is that this [unintelligible]
proposal is appropriate as the Chair
mentioned because of the height and the
massing.
But also because of its quality as a
piece of architecture, and I commend the
applicant, I think it's a, it's both an
example of responses, dialogue of the
community, and also a successful solution to
a complex architectural problem. And so, I
can support it.
MALE VOICE 2: [Inaudible] thank you,
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Tom.
MALE VOICE 1: And we should also
(inaudible) community house that will be
demolished [inaudible], the house-a structure
that will result (inaudible) historic
character [inaudible], and make sure that's
stated on the record. [Inaudible].
[END TAPE 1 SIDE A] -
[START TAPE 2 SIDE B]
MS. HUNTER: I've listened carefully and
been very responsive. And I feel very
comfortable with the proposal that's before
us now. I do think it is an elegant solution
in many ways to what is a difficult and
complex problem here, to try to insert this
building into the existing fabric between the
existing synagogue and the adjacent property.
So I em very [break in audio] in this
location adjacent to the synagogue. And I
also think that the facade has come a long
way. The materials are quite elegant, very
appropriate for the district. I think will
blend nicely with the materials in the
district.
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But I also think that there is a rich
facade here that has been developed with an
appropriate amount of depth and layering that
will make it elegant, and elegant and
appropriate for the district. So I think the
overall articulation of the facade is quite
good. And the scale of the openings, and the
four, four to four heights all are working
quite nicely with adjacent neighbors and as a
bridge between these two buildings.
I also think that the adjustments that
have been made to the facade in response to
our comments last time about the way the
brick terminates on the facade, and this
addition of a vertical element there is a
good one, and I think now is really working
quite nicely in terms of its overall
integration of the components. So, I'm very
comfortable with this as a very elegant and.
appropriate solution for this site.
MALE VOICE 2: Thank you [inaudible,].
MALE VOICE 6: Yeah, I have to echo
those [inaudible] and comments. I think that
this has been a long process and a difficult
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process in arriving at this. But it was a-
it's a complex site given the context, the
residential context of the street and the
adjacent building, the adjacent synagogue. I
think that the applicant has been very
successful in creating a composition that
both balances the context, and creates a
(unintelligible) transition between the
synagogue and the residential character of
the building.
That's not an easy thing to do, and I
think it has been accomplished extremely well
in this particular instance through the
choice of materials. I think that thematerials, the balancing of the introduction
of a horizontal as well as, or rather
vertical lines to balance the composition is
extremely important in this case. I would-I
think the success of this building, the
design will be, will also depend (inaudible)
on the quality of the material, the subtlety
that are here in terms of the articulation,
the depth of-and the relationship between the
different lines that have been expressed, you
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PROCEEDINGS 25
know, could be very successful if the
materials are strong.
But if you use a weak [unintelligible]
of aluminum, then you can lose the structural
beauty that it might have. So I. would
recommend that, you know, (unintelligible]
now. This is the time to continue with the
same level of detail that they have shown. I
think that the massing is appropriate. It is
a massing that relates to the street and to
its proximity to the Central Park West. And
overall, I think that the building will make
a contribution to the streetscape.
MALE VOICE 1: Thank you.
[Unintelligible).
MALE VOICE 7: Well, this is a fine
example of what can happen in careful
evolution if permitted. And here, we have a
contemporary design, finally in complete
harmony with the classic building next to it.
..It was difficult and it had to be done very
carefully. It didn't happen overnight. But
it is very successful. I think the reduction
of the height was one of the major things
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that we felt from the beginning was
necessary. And that [unintelligible]. Also,
the redesign of the entrance relating to the
old building is now very successful, and they
work together beautifully. All in all, I
think that it proves that it is possible that
classic and contemporary can work together.
MALE VOICE 1: Thank-you. (Inaudible)J.
MALE VOICE 8: I agree. I think the
review process has helped this project
enormously. And both the applicant and the
community should be commended. I know that
both sides may not want to take a bow, but I
think they could. The height and massing are
in line. And I think the new building is
very respectful to both the temple and the
neighborhood.
FEMALE VOICE 1: Yeah, I echo all those
comments, and add that my big concern was the
degree to which it would be able to be
somewhat (unintelligible] to the synagogue.
And I think that's been accomplished. At the
same time an exciting and talented design
will be added to (inaudible) as well as.the
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building that it's replacing will not
[unintelligible] will not be a detriment to
[inaudible).
MALE VOICE 1: At no point did I leave
unaddressed the Roberta [inaudible]
statement. Roberta is in Tokyo I believe.
[Inaudible].
MALE VOICE 5: Yeah.-
MALE VOICE 1: [Inaudible] 14 thousand
odd miles away, wanted to have a statement
read.
MALE VOICE 5: So, this is from Roberta
Gratz (phonetic]. "This project has come a
very long way from the time it would have so
dramatically exceeded the height limits of
the Historic District, calling, causing
historic districts all over the city to be in
jeopardy. I thank the synagogue and its
architects for the responsiveness so far to
the requests of the commission, and for
exhibiting respect for the historic fabric of
the neighborhood. Clearly, this is an
enormous improvement, and will still add
generously to the already generous space that
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the synagogue enjoys."
"Given the distance the project has
come, I wish I, I wish I could
enthusiastically endorse the current plan.
In fact, I was looking forward to doing so
for any number of reasons. Shearith Israel
is such a significant landmark in the history
of New York City, and in the history of
Sephardic Jews in America. And I have a
personal attachment to this synagoaue, since
both my daughters were barmitzvahed there
years ago. But there is one remaining knotty
problem to this proposal. The so called
penthouse, even at one story is actually an
extra floor with modest setbacks."
"According to the Buildings Department,
a penthouse does count in the height of a
building if it occupies less than a third of
the floor area of the roof. This penthouse
is 28/70 feet or 64% of the roof area of
44/80 square feet. Thus, the penthouse would
need to be 14/93 feet to legally qualify as a
penthouse. The question then is does the
Landmarks Commission have a different
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definition for penthouse than the Buildings
Department? If so, what is it? Is it the
top floor of any building as long as it has
setbacks? To date, there is a standing
penthouse definition that this particular
proposal does not meet."
"Should landmarks establish a new one
for current and- future use to be applied here
first, I might be persuaded to accept that
new definition and vote approval of the
project as currently configured. Short of
that occurrence, I regretfully vote no."
MALE VOICE 1: Okay. Counselor, as you
know, the procedure here is, this is a public
meeting. And no public testimony allowed.
MR. MARK LEBOW: I promise not to
testify only to argue.
MALE VOICE 2: If the no argument
[unintelligible].
MALE VOICE 1: The hearing is already
open because the applicant-but if you could
summar-if you would make an incredibly brief
statement, I'm going to allow you to do that,
I'm being advised [inaudible] not to. But
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please do it, do it fast. Leave a statement
that would allow us-that would be here for us
to be part of our (inaudible] consideration,
but please indulge us and...
MR. LEBOW: T_'ll go so fast you won't
believe it.MALE VOICE 1: Okay. Identify yourself.
MR. LEBOW: I'm Mark.Lebow, I'm the
lawyer for-of the three surrounding apartment
buildings and everybody else on West 70th
Street.
MALE VOICE 6: What's your name, sir?
MR. LEBOW: Say again.
MALE VOICE 6: Your name?
MALE VOICE 1: Spell your name.
MR. LEBOW: M-A-R-K, Lebow, L-E-B-O-W.
MALE VOICE 6: And speak loudly please.
MR. LEBOW: Say again.
MALE VOICE 6: Speak loudly.
MR. LEBOW: Mr. Chairman, I have ask
repeatedly that this session be postponed
because this is the first time that the
organized opposition, which consists of
everybody on West 70th Street in the
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surrounding three apartment buildings have
seen this new project. I think that due
process would require us to submit our
written position to this for your
consideration before you take a vote. You
have apparently denied. that request, so I
will then sum up rather briefly.
This building is opposed by the
10 community and it still is. Why, if you take
11 a look at this building which the Community
12 Board rejected because it was unattractive,
13 which the community doesn't like because it's
14 too big. Why would you approve this
15 building? The mid block zoning, and the mid
16 block historic district provides for
17 brownstones of four to six stories. This
18 building is twice as big as that.- It is even
19 bigger than the anomalies which are
20 immediately adjacent to it to the west and
21 one further down the block. It is too big.
22 If you permit a building that is twice as big
23 as the permissible zone to be put next to a
24 historic building, in a historic district,
25 you are opening a Pandora's box for what will
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happen not only up and down Central Park
West, where there are many low lying historic
buildings in a historic landmark district.
But the same thing will happen in other
places in the city such as Brooklyn. And I
ask you this, why do you want to do it for
this building? This building may be a litt e
less ugly than it was before. But it
certainly is not going to attract
preservationists a hundred years from now.
Nor will it make it any historical or
architectural texts. It is a humdrum
building. And why would you go out of your
way to say that this building is appropriate
when everything else in the mid block
neighborhood is half the size? Why do you
want to do it for this building? I suggest
that you should not do it. Thank you.
MALE VOICE 1: Take a motion to-yes?
MALE VOICE 6: We would simply like to
thank the Commission for its [phonetic].
MALE VOICE l: Step up. Yes.
MALE VOICE 6: Shall we [inaudible]
responses (unintelligible). We would like to
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thank the Commission and the staff for these
years of collaboration on this project.
[Inaudible] appreciate [inaudible].
MALE VOICE 1: Motion to close. Thank
you. Counsel. [Unintelligible] close the
hearing second? Without objection the
hearing is closed, and the [inaudible].
FEMALE VOICE 1: [Unintelligible] 8 West
70th Street. [Inaudible] Shearith Israel
[inaudible] Historic District. An Academic
Classical and Beaux Arts style synagogue
designed by Brunner & Tryon, built in 1896-
97. The application is to demolish the
existing community house and construct a new
building. We recommend approval, finding
that the demolition of the four story
community house will not eliminate a building
that contributes to the special architectural
and historic character of the Upper West
Side, West Central Park, [inaudible] Historic
District.
But the height and massing of the
proposed building will be compatible with the
adjacent building and other apartment
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buildings located on side streets in the
historic district. That the facade of the
new building will be composed of a
traditional arrangement, a [unintelligible]
determination which is characteristic of the
adjoining apartment buildings in the historic
district. That the composition of the
[unintelligible] large (inaudible] glass
windows on the east side which become
[unintelligible] openings on the north side.
(Inaudible) transition [inaudible] monumental
scale of the synagogue and the residential
scale of apartment buildings and (inaudible]
houses [inaudible).
And that the limestone light colored
brick [unintelligible] materials for the new
buildings will compliment the limestone
(inaudible) synagogue, and will be harmonious
(inaudible] material colors and (inaudible).
That the setback placement of the new
building's facade adjacent to the synagogue
[inaudible) portion of the building. That
the floor to ceiling height of the new
building will be proportional to those found
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in the adjacent buildings, and the supportive
relationship between the new building and its
neighbors to the left on West 70th Street.
[Inaudible] orientation and good light
configuration of the aluminum [inaud.ible]
will help to reduce the scale of the opening,
and to [inaudible] a balance between the
vertical and horizontal elements of the
facade. That the symmetrical [inaudible]
arrangement [inaudible] and [inaudible)
material [inaudible] design and
[unintelligible] facade which will be seen in
context with the [inaudible] will result in a
differential relationship to the synagogue,
and will not detract from the special
architectural character of the individual
landmark, or the Upper West Side Central Park
West Historic District.
That the south face of the facade will
[unintelligible] as a secondary facade due to
a simpler design and material [inaudible].
That the symmetrical arrangement, low profile
and neutral finish and the mechanical
equipment which will (inaudible] in context
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PROCEEDINGS 36
2 with the synagogue will help to minimize the
3 [inaudible] the penthouse. That the
4 J (inaudible) that location of the community
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house [inaudible]. [Inaudible] keeping with
faces of the other apartments in the historic
district. That the apartment entrance
located at the western most portion of the
West 70th Street facade is well scaled to the
hierarchy of the new building space.
And that the proposed metal and glass
12 [inaudibleJ canopy of the entrance
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[inaudible] West 70th Street will be well
scaled to the facade, and will not overwhelm
or detract from the new building [inaudible].
MALE VOICE 1: [Unintelligible] second,
all in favor?
[Everyone responds I]
MALE VOICE 1: Opposed? It's approved.
Thank you. Thank you all very much.
MALE VOICE 4: Thank you all.
[END OF HEARING]
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37
C E R T I F I C A T E
I, Sarita Viales certify that the foregoing transcript
of proceedings in the Landmarks Preservation
Commission Hearing, 3-14-06 Public Meeting 8W 70th was
prepared using standard electronic transcription
equipment and is a true and accurate record of the
proceedings.
Tape # 70163-a,70163-b
Counter #s to
Signature Sarita Viales
Date 3/21/06
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38
ERRATA SHEET FOR TRANSCRIPT OF
RE: DATE TAKEN:
PAGE LINE # CORRECTION REASON
WITNESS' NAME
SUBSCRIBED AND SWORN TO THIS
DAY OF r 200
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