1700 Broadway Club
Fogarty Finger
- New York - United States
- Fogarty Finger
- Robert Finger, AIA
- Robert Finger, AIA – Principal In Charge, Alexandra Cuber, AIA, LEED AP – Director, Brandon Maldonado – Associate, Celeste Pomputius – Designer, Candace Rimes – Associate Director, Taylor Fleming – Designer, Ariana Lopes-Proctor – Designer, Joseph Kim – Designer
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A space primarily for lounging and meeting, the 10,500 RSF amenity center at 1700 Broadway Club focuses its energy on a less structured experience than its surrounding offices. Weaving its way from architecture down to furniture, that dissolving of rigidity draws its inspiration from the mid-century, the era when the building was erected.
The completed space encompasses a simple working mantra “Off the Grid” – a space for creative retreat from the structures of one’s daily experience. Spaces are divided less by solid walls and more by elements that could simultaneously define yet remain transparent. The traditional procession of enclosed rooms was supplanted by objects placed in a field – screens lightly anchored to floor and ceiling, built-in furniture, and changes in material or color. Each space was infused with the ethos, materiality, and spirit of leading 1960s designers and thinkers. Art was then layered in, with various local artists creating a body of work reminding us that the spirit of experimentation so present in the mid-century remains.
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- Connie Zhou
- Fogarty Finger
Project description
A space primarily for lounging and meeting, the 10,500 RSF amenity center at 1700 Broadway Club focuses its energy on a less structured experience than its surrounding offices. Weaving its way from architecture down to furniture, that dissolving of rigidity draws its inspiration from the mid-century, the era when the building was erected. The completed space encompasses a simple working mantra “Off the Grid” – a space for creative retreat from the structures of one’s daily experience. Spaces are divided less by solid walls and more by elements that could simultaneously define yet remain transparent. The traditional procession of enclosed rooms was supplanted by objects placed in a field – screens lightly anchored to floor and ceiling, built-in furniture, and changes in material or color. Each space was infused with the ethos, materiality, and spirit of leading 1960s designers and thinkers. Art was then layered in, with various local artists creating a body of work reminding us that the spirit of experimentation so present in the mid-century remains.