50 Hudson Yards, a 78-story office building by Foster + Partners, has officially opened in New York,  in one of Manhattan areas with the most urban renovation and economic investment per square meter of the 21st century, between 34th Street and 33rd Street on the east side of the complex.

Covering an entire block, the tower is a skyscraper with a serene and almost Miesian image, which best dialogues with the urban fabric of Manhattan. It develops almost 270,000 square meters of office space while providing a host of commercial facilities and new public spaces at ground level. The building acts as a gateway to New York's vibrant new neighbourhood, offering a direct underground connection to the adjacent subway station. The LEED Gold-designed tower is an integral part of the Hudson Yards district.
50 Hudson Yards designed by Foster + Partners has a stepped envelope and structural elements with vertical strips that run up the facade clad in Viscount white stone.

Visitors enter the tower through the street edges and traverse the building from north to south, through lively public entrance lobbies with two large-scale artworks by Frank Stella.

Movement through the building is intuitive and efficient, with dedicated lobbies and private elevators for anchor tenants.  The design utilizes conventional, double-decker and twin elevators for the first time in a New York commercial office building. Floor-to-ceiling glazing and generous ceiling heights allow natural light to flood the office spaces.
 
“Our project is a response to the site within Hudson Yards, but its geometry also respects the wider context of the New York street grid. The innovative elevator strategy and unique space planning provide prime users of the tower with their own lobbies, exclusive access and separate identities.

Column-free floor plates and generous ceiling heights provide high-quality workspaces with maximum flexibility for change in the future. A purpose-built tunnel connects the building directly to the subway while the lobby floors are connected by a delicate feature stair from which one can enjoy both views of Hudson Yards and the large-scale work of art by Frank Stella.”
Norman Foster, Founder and Executive Chairman of Foster + Partners.
 


50 Hudson Yards building by Foster + Partners. Photograph by Nigel Young / Foster + Partners.


50 Hudson Yards building by Foster + Partners. Photograph by Nigel Young / Foster + Partners.
 

Project description by Foster + Partners

50 Hudson Yards is a 78-story office building in New York. Covering an entire block, the tower is a distinctive piece of the city that mindfully sits within New York’s urban grid.  It contains almost 3 million square feet of flexible office space while providing an abundance of retail facilities and new public spaces at ground level. The building acts as a gateway to New York’s vibrant new neighbourhood, offering a direct underground connection to the adjacent subway station. The LEED Gold-designed tower forms an integral part of the Hudson Yards district.  

The office tower gives back to the city with new shops, restaurants, bike parking and transport connections at street level. Its lively public entrance lobbies are animated by two large-scale artworks by Frank Stella, which celebrate the creative heritage of the city and draw people into the building.

Movement through the building is intuitive and efficient, with dedicated lobbies and private elevators for anchor tenants. Visitors enter the tower through the activated street edges and traverse through the building from north to south. The design utilizes conventional, double-decker and twin elevators for the first time in a New York commercial office building. Floor-to-ceiling glazing and generous ceiling heights allow natural light to flood the office spaces, enhancing employee well-being.

The tower offers panoramic views of Manhattan, with the Hudson River to the west and the Empire State Building to the east. A communal amenity on the 32nd floor features a variety of meeting and event spaces. The top of the tower features a domed stainless-steel lighting installation, designed in collaboration with Jamie Carpenter, which catches the light during the day and illuminates the building at night. The expressed structural elements of the building are clad in Viscount White stone which was carefully chosen for the project.

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Architects
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Project team
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Luis Fuentes Arambula.
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Collaborators
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Collaborating Architect.- Adamson Associates Architects.
Structural Engineer.- WSP.
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Client
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Related Companies.
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Area
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269,410m².
Height.-291m.
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Dates
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First design.- 2014.
Appointment.- 2016.
Completion.- 2022.
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Photography
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Norman Foster is considered by many to be the most prominent architect in Britain. He won the 1999 Pritzker Architecture Prize and the 2009 Príncipe de Asturias de las Artes Prize.

Lord Foster rebuilt the Reichstag as a new German Parliament in Berlin and designed a contemporary Great Court for the British Museum. He linked St. Paul's Cathedral to the Tate Modern with the Millennium Bridge, a steel footbridge across the Thames. He designed the Hearst Corporation Building in Manhattan, at 57th Street and Eighth Avenue.

He was born in Manchester, England, in 1935. Among his firm’s many other projects are London’s City Hall, the Bilbao Metro in Spain, the Canary Wharf Underground Station in London and the renovated courtyard of the Smithsonian American Art Museum and National Portrait Gallery in Washington.

In the 1970s, Lord Foster was one of the most visible practitioners of high-tech architecture that fetishized machine culture. His triumphant 1986 Hong Kong and Shanghai bank building, conceived as a kit-of-parts plugged into a towering steel frame, was capitalism's answer to the populist Pompidou Center in Paris.

Nicolai Ouroussoff, The Times’s architecture critic, has written that although Lord Foster’s work has become sleeker and more predictable in recent years, his forms are always driven by an internal structural logic, and they treat their surroundings with a refreshing bluntness.

Awarded the Prince of Asturias of the Arts 2009.

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