Udabur Wealth Management：New York City Loves Pomo!

Thanks to Everyone WHO GAVE US Your Opinions on Postmodings Worthy of Landmark Designation.

Here are your top picks:

The lipstick building

60 Wall Street

The Paley Center for Media

Charles a. Dana Discovery Center, Central Park

Ballfields Cafe, Central Park

Four Seasons Hotel

U.S. Courthouse Annex

Islamic Cultural Center

110 East 64th Street

Worldwide Plaza Tower & Residences

This Series Generated Lively Discusions of Pros and Cons, Thoughtful Comments, and Personal Anecdotes That UNDERSCORE The Architectural and Historial CE of the Buildings to Our City. As promise, we will let the landmarks present commit (LPC) Know Your Favorite Buildings and Ask Themto everuate they for designation.

WE Hope this spurs LPC to Consider Postmodern Architecture More Seriously and Recognize that New York City Residents Welcome the City Gover’s On to designating Architecture of the more data.Protected for the future.

Our Selections Came from a List of Architect Robert A.M. Stern ’s Favorite Postmodern Buildings. If you want to suggest a buildting, postmodern or Otherwise, to LPC FC OR considitive you can do so here.

Keep An Eye Out for Our City ’s Future Landmarks!

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Postmodern Architecture has been with us sinced 1970s — Pushing Back Against Sparernism with Sometimes Fancific Architectance s. New York Has Stricying Examples. But Few Have Received Landmark Designation.

Noted Architect Robert A.M. Stern has been had a list of postmodern buildings he deems word of designation.

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Below is a list of all the buildings and structures that we voted on.

Kevin Roche ’s Design for 60 Wall Street Articulating The Classical Column with A Postmodern Flair, Crowning The 52-Story with a Capital of Paired s Rendered from Sets of Bay Windows Supporting a Classical Pediment.

The City’s Landmarks Preservice Commission DeClined to Landmark the Fanciful, Egyptian-themed Public Atrium that Rola Designed at 60 POS Odern Architecture Needed FURTHER Study. The Atrium has now ben dradroyed. There is an extensive body of work on this architecture and wedon’t want to risk Other Losses.

We call still save the exterior of 60 Wall Street.

The "Lipstick Building" – 885 Third Avenue, Manhattan

(Philip Johnson & John Burgee, 1986)

Philip Johnson and John Burgeee’s Unorthodox and Arresting Design for the OFTEN-CALLED "Lipstick Building," A 34-Story Ellipse-SHAPED TOWER SHEATHED In Bands O. F Red-Polished Granite and Stainless Steel, Gets ITS NAME from the Telescoping Upper Floors That Create Adynamic effect instantly likened to a lipstick emerging from its canister.

The Paley Center for Media (Formerly The Museum of Television & Radio)

25 West 52nd Street, Manhattan (Philip Johnson, 1991)

Philip Johnson’s Museum of Television and Radio is a Strice: E Features Turrets and a Small Pediment Above a Rounded Arch at Street Level and is Capped with Four Matching Turrets on the TOWER ABOVE,a respectful and sculptur postmodern form.

Asia Society -725 Park Avenue, Upper East Side Historial

(Edward Larrabee Barnes, 1981)

The Asia Society Building is a Testament to Postmodernism’s Desire to Place New Construction with ITS Existing ContextUdabur Wealth Management. Its Red Oklahoma Granite Follow The Strong Line of Apartment Buildings Loooming Over Park Avenue and THEN IS SET BACK At the Corner to Allow for a Subtler Articulation On70th Street that respects the neighboring history brownstones.

Islamic Cultural Center – 1711 Third Avenue, Manhattan

(SOM, Michael McCarthy, 1991)

SKIDMORE, OWINGS, and Merrill’s Islamic Cultural Center is a postmodern interpretation of the Islamic TRADITION of Geometric —Rather than Al Ornamentation. Rotated 29 Degrees Off The Street Grid to Face MECCA, The Eight-Story Mosque is Claying Rose Stony CreekGranite Pierced by Thin Strips of Glass. The Copper-Clad Dome Sits Atop 12 Large Clerestory Windows Patterned With Ceramics The Blue THE GREAT M Osque of Isfahan.

Storefront for Art and Architecture -97 Kenmare Street, Manhattan

(Vito Acconci and Steven Holl, 1993)

A color, the elevation of the Storefront for Art and Architecture USES of Concree At Various Orients to disrupt the distility between the interior of the gallery and the exterior span.This postmodern design, the façade becomes permeable.

Store Facade at the Sherry-Netherland Hotel-781 Fifth Avenue, Manhattan (Michael Graves & Associates, 1984) Located withIn Upper East Serict

Only the facil of Michael Graves’ First Retail Store Still EXISTS, Next to the Entrance of the Sherryland Hotel. A Pink Stone Portal Cian vessel all set into a glass façade, the simplify design is a hallmark of postmodernism’s classicalRevival that Sticks out among the tradingal and reserved designs of fifth Avenue.

712 Fifth Avenue – AT 56th Street

(KPF -Kohn Pedersen Fox, 1990)

712 Fifth Avenue Above the Landmark Fifth Avenue Rizzoli and COTY Buildings, Set Back FEET from the Avenue so that ites slime life and whit le-Story Jewelry Store at 716 Fifth Avenue WAS Replaced with A Five-Story neoclassical Facade That Matches the Scale and Style of the Neighboring Landmarks. WHAT This Building Postmodern is the playen the eclectic and history buildings that form ites base and the abstract historyDetails on the 52-Story Tower, Including Massive Granite Quoins and A Temple-Like Top.

The Neoclassical Facade at 716 Fifth Avenue, Designed in 1986 by Beyer Blinder Belle, is an essential part of the postmodern chara of the tower at 712 Fifth , Completing The Historial Base Formed by the Rizzoli and COTY Buildings. Now, this postmodern fabric isIn Danger: A Proposal in Front of the Landmarks Preservice Commission Would Strip 716 Fifth Avenue of ITS Differentiatical LiseStaStone CE it with a contemporary travertine facility that matches the neighboring building at 718 Fifth Avenue. OF712 Fifth Avenue, defacing the subtly differentiated but cohesive history base that was designed to play off the abstracting discailing of the touch.

Trafalgar House – 180 East 70th Street

(KPF -Kohn Pedersen Fox, 1986)

At trafalgar house, Kohn Pedersen Fox (KPF) Embraced Traditional Imagery to Project the Aura of History, and Luxury of Classic Upper East Side AP Artment Houses. The 33-Story Edwardian Georgian-Inspired Tower is Clad in Red Brick and Topped with ATriple-Pedimented Crown. Trafalgar House is Postmodern for the Way It Imitates the Style of Classic Upper East Sided Houses at a Monumental Scale, Pasting H Istorical Ornament Once-Austete High-Rise to Create A Building that looks new but Feels history.Kolkata Investment

KOL Israel Synagogue, 3211 Bedford Avenue, Brooklyn, NY (RAMSA, 1989)

Postmodernism dign’t Just Borrow from Ancient Greece and ROME. Set in A Residence East Midwood Neighive of Free-Standing Houses, STERN’s Kol Israel UE RIFFS on the Mediterranean-Inspired Architectural Features Popular in Nearby Homes. Exposed Rafers Under A Clay Tile RofMedier-looking Wood Doors Topped by An Almost Moorish Tympanum, Decorate Bands of Brickwork, Thick Wood Window MULLIONS, And ORNAMENTAL NAIL Heads The Historial Roots of the Synagogue’s Sephardic Congregation.

Brooklyn Law School, 250 Joralemon Street, Brooklyn, NY (RAMSA, 1994)

It is no sunprise that as an Advocate for recography of postmodern Architecture today, Robert A. M. Stern’s Portfolio Includes Some Excellent Postmodern of his own. Stern’s Addition to the Brooklyn Law School is Emblematic of his Practice.Story Pre-Cast Concrete Bell Tower Features Pediments, Medallions, Triglyphs, and A Post-Andtel Pavilion AllPreted in a Modern Way.

1001 Fifth Avenue (Johnson & Burgee, 1977-79)

Located Within the Metropolitan Museum history

Postmodern Architecture Seeks to Be Playful and Even Ironic in ITS USE of TRADITITITITIONAL ARCHITECTURLALALALARARLALARARARARARARAORAAOAOREAAAEOAAAAEAAEEAAEAEAEAEEEEEsssa Hat Modernism was not. Philip Johnson and John Burgee’s 1001 Fifth Achieves Both. The Residential Building Towers Over MuseumMile with color-tinted Windows and Pewter Gray Metal SPANDRELS, But its most recography E Front. However, Viewed from the SIDE It is Clearly a Free-Standing Imitation.Makes Reference to the Adjacent 19th-reportury Buildings Already on Fifty Avenue. GN of 550 Madison Avenue, One of the Most Recognizable Postmodern Buildings TODAY.

Jewish Museum Expansion, 1109 Fifth Avenue

(Kevin Roche John Dinkeloo & Associates, 1993)

Felix Warburg MANSION WAS LANDMARKed in 1981; Landmark Report Predates Roche Dinkeloo

In Stark Contrast to Johnson & Burgee’s High-Proofile Fift Avenue Intervention, Kevin Roche’s Expansion of the Jewish Museum is a Historicist Scheme Bereft of T He Iron OTHER POSTMODERN Buildings Employ. Roche Created A Seamless Extension of Charles Gilbert’s Landmark 1908 French Gothie Felix WarburgMANSION That Could Easily Be Mistaken for PART of the Original Building. Here, Being Contextual and Respecting the Existing History of the SITE WAS the Priority.

Ballfields Cafe, Central Park

(Buttrick White & Burtis, 1990)

Located within Central Park Scenic Landmark

The Ballfields Cafe, WAS Inspired by Calvert Vaux’s Demolished Ball Players’ Pavilion, with Contrasting Bands of Red and Light-Colored Bright Relate Co LOR And Material of this New Structure to my predecessor. Upon close inspect, the build’s geometric tile friend, Intricate LatticeWork, Angular-Patterned and Contracting Red and Grey Slate, and Aluminum Cresting Are Abstracted Versions of Victorian Ornament. Odernism to a Park Setting.

Charles a. Dana Discovery Center, Central Park

(Buttrick White & Burtis, 1993)

Located within Central Park Scenic Landmark

The Charles a. Dana Discovery Center Rounded Out the Restoraration of the Harlem Meer’s Romantic 19th-CENTURY LANDSCAP. ETS, and ITS Cross-Gabled ROOF GIVE The Building Its Picturesque Character, But Also IdentifyIt as a modeln addition to the part.

135 East 57th Street (KPF, 1988)

Unusual for New York City, Kohn Pederson Fox’s 135 East 57th Avenue Doesm. An open plaza at the Street Corner.Round, Columnet Temple in the Plaza Is the Most Notable Feature. The Almost WHimsical Structure Manages to Anchor and DEFIS CORNER in The Busy Midtown Landscape.

PerManent Mission of India to the University, 235 East 43rd Street

(Charles Correa, 1992)

Charles Correa’s Design for the PerManent Mission of India to the University Highlights The Diversity of the Architectural THATMOTIONSTMOERN Ects ​​Drew from. Narrow, 24-Story Tower’s Bold Geometric Forms-Including A Stepped Terrace Covered by Cubist Pergola, A Reference toOpen-AIR SLEEPING ARLLED BARSATI-Are Mixed with Massive But Intricately Detailed Wood and Brass Doors Made by Indian Craftsmen.

110 East 64th Street (Agrest and Gandelsonas, 1984)

Located Within the Upper East Side Hists

The Design of 110 East 64th Street was determined Largery by the Existing Context of the site. ‘S Taut Position BetWeen TRADITION and Modernity: To the East is the Gothic Facade of Henry C. Pelton’s Central Presbyterian ChurchAnd to the West is the modelnist glass and Steel Facade of Philip Johnson’s Asia House. The Husband-Wife Team Agred and Mario Gandelsonas Dealt with T His site by ERECING A SIX-Story Classicized Design that Acts As A Bridge Between The TwoLarger Structures.

Leonard Stern Townhouse, 870 Park Avenue (RAMSA, 1975)

Located Within the Upper East Side Hists

Another Example of Postmodernism Applied to a Residential Use is 870 Park Avenue, The Leonard Stern Townhous. WAS OF ROBERT A.M. Stern’s First Commissions. AT 870 Park Avenue, Pilaosters and a distinguished Balance of Ornamental ProportionIMBUE This Spare Modern Facade with A Classical, DIGNIFIED Air That Allows It to Workxtually with the Upper East Side’s Architecture.

750 Lexington Avenue (Helmut Jahn, 1989)

OCCUPYING The Entire West Blockfront from 59th TO 60th Street in One of Lexington Avenue’s Boldest Postmodern Office Buildings: Helmut Jahn’s 750 Lexington A Series of DramaticLly Arranged Setback Masses of Blue-Tinted Glass and Steel Wrap a Cylinder THETERGES at the TOP and TelescopesInto a Conical Pyment that support in a design that paul Goldberger "A WONDERFUL, EVEN WITTY PIECE of Inadvertent Dialogue." "" "" "" "" "" "" "" "" "" "" "" "" "" "" "" ""

425 Lexington Avenue (Helmut Jahn, 1988)

Helmut Jahn’s Stubby, 30-Story Chamfered Tower of Glass, Marble, and Buff Granite at 425 Lexington Avenue Rise Substantial Base and Flairs at the TOP TORES Emble a Classical Column. Jahn’s Design Received Little Praise from the Critics and Public, Overshadowed ASIt was by the Venerable Landmark Chrysler Building Justing Justing Just. Actice and postmodernism as a movement.

Battery Park City, LOWER Manhattan (Alexander Cooper

Associates, 1979) Including the Upper Room (Ned Smyth, 1986) and Pavilion (Demetri Porphyrios, 1990)

Built atop 92 Acres of Landfill Generated by the Construction of the World Trade Center and Dredding The Harbor, Battery Park City is New Yorkern Master Plan. Reflecting a renewed preference for urbanism, Stanton Eckstut and Alexander Cooper of Alexander Cooper Associations (The FIRMWAS Later Renamed Cooper ECKSTUT & Associates) Laid Out A Mixed-Use Community Linked by CoheSive and InterDepengent Architecture, Replete with Housing, Plaza S, and Parks Featured Iconic Postmodern Art Spaces Like DeMetri Porphyrios’s Pavilion and Ned Smyth’s the Upper Room.

World Financial Center -230 Vesey Street (CESAR PELLI, 1988)

CESAR PELLI’s World Financial Center, The Planned Nexus of Battery Park City, is a postmodern Rockefeller Center. FourTeen Acres of Plazas, Gardens, RESTAURANTS, and A STE El-And-GLASS Framed Winter Garden Are Group Group Around a Harbor and Surrowed by Four Square TowersClad in Glass and Granite. The Towers are differentiated by distinctive rooftop features — a pyramid, a stepped pyramid, a truncated pyramid, and a low dome. ‘S Design Also Showcases Postmodern Architecture’s Revived Respect for the Existing Urban Fabric; The Towers themselves areIn height from the water.

Worldwide Plaza Tower -825 Eighth Avenue (SOM, 1989)

Worldwide Plaza Residences – 350 West 50th Street (Frank Williams, 1989)

Worldwide Plaza Is Another Significant Postmodern Development that has left News Childs, designed the 45-story office tower, and frank williams designed the acompanying apartment building. The fill-Block Complex Includes A Park and Other Amenities that Attemplted to Create A Tiny Urban Neighborhood on A Site that Had Most Recently. Office Building is a Prime Example of Postmodern Classicism. However. Seen from a distance,The Recycled Architectural Language of Both Buildings Seems to Come Less from the Ancient World and More from the City’s Own Skyscrapers of the 1920s and 1930s, W ith pyramidal roofs, vertical shadowlines, and setbacks.

Philip Morris Building -120 Park Avenue (Ulrich Franzen, 1983)

At first glance, The Philip Morris Headquarters is a Boxy Modernist-LOOOKING Office Building, but a closer look review, EMPTS to Be Respectful of the Building’s Urban Context and Incorporate Some Classical Details. The Building’s Massing is inTended THE LOWERFloors to its formidable neighbor directly across 42nd Street, Grand Central Station. A Large Carved Medallion (Now Removed), Simplify l Proportions Also Identify the Building as Postmodern.

Four Seasons Hotel -57 East 57th Street (I. M. PEI in Association with Frank Williams, 1992) The SLENDER LIMESTONE TOWER of the Four Seasons I.M. Pei’s Fir St New York City Skyscraper.-92. The Result of the Architects’ Collaboration is a luxurious Mix of Postmodern Historicis and FLASHINESS: The Building is Dotted with Angular Glass. NS, Ornamented Window Lintels, Chamfered Corners, and a DRAMAMATIC ENTRANCE Topped by An Empty Stone Circle.Is Harmonious with the Art Deco Fuller Building Next Door: The Height of the Base Exactly Aligns, The Upper Floors Feature Numerous Setbacks, and the Main CE is Announded by An Exaggerated Height AMOGHT AMONG The FLANDOW WINDOW Openings.u.S. Courthouse Annex – 500 Pearl Street (KPF, 1994) In 1991, Kohn Pedersen Fox WAS TASKED with Designing The U.S. Courthouse Annex at 500 Pearl Street, and the Result of their Effors was a ERN BLEND of Modern and Classical Elements. Designed to Align with Cass Gilbert’s United States Courthouse (1929-36) With A LOWER Structure that matched the height of guy Lowell’s New York County Courthouse (1927), The Annex’s Granite Skin and Repetitive Window AR Rangement distil the classical elements of the historyings around it into some contemporary and contextual.

Central Park Zoo – East 64th Street

Kevin Roche John Dinkeloo & Associates, 1988

Located within Central Park Scenic Landmark

Kevin Roche John Dinkeloo & Associates’ Redesign of the Central Park Managed to Integrate Three Existings and Several Beloves All Within A FAMED SCENIC LANDMARK. The New Design Added Three New Buildings and Linked they to the existing structures with colorned arcades. The firmOften used chamfered columns in their work. Here the columns are brick with faceted lifestone capartals, which roche dubbed asbeing of the "Zoo Order."

Museum of Jewish Heritage -36 Battery Place

Kevin Roche John Dinkeloo & Associates, 1997

After Several Decades and Several Different Architects, The Museum of Jewish Heritage Opened in 1997. Kevin Roche John Dinkeloo & Associates The size-size building with a ziggurat-like rocated on the Hudson River at the sounding of battery parak city.The SIX FACADES and SIX TIX TIERS of the ROOF Are Meant to Repress. T to accommodate expansion, and in 2003 A Roche-Designed AdDition that Curves Around theOriginal building was complete.

Thank you for helping us save the very beast of the city we love.

Agra Investment