In the mid-1980s, the chameleonic, provocative and questionable architect Philip Johnson with John Burgee, inaugurated a skyscraper at 550 Madison Avenue, the AT&T building, with a provocative crown, his "open pediment", which quickly became popular. It became the image that consolidated the reinterpretation of classical language as the basis of architectural postmodernity.

After years of use, new owners (Sony in 1991), transformations that closed its lower arcades initially open to the east, north and south, or a gallery topped with a barrel vault, program changes and new needs of its occupants, made that shortly before the Covid pandemic in 2017, a building reform project began, not without great controversy due to the initial proposals for its transformation, which replaced the original pink Stony Creek granite cladding with a curtain wall of scalloped glass that grew more than 30 meters from the street.

After various project adjustments over the years, Snøhetta opened up some of the façades, added a public garden, and improved the ventilation and vertical communication systems as part of the conversion of the 197-meter-tall skyscraper from a one-story building. single occupant to one for multiple occupants.
This week saw the inauguration of its 2,000-square-meter (21,300-square-foot) back garden, designed by Snøhetta, as a public space in the district, (a commercial district that is still struggling to bring workers back to its streets and buildings of offices) that culminates a process of interior reform in which other architecture studios have also intervened, as Gensler.

The Garden is located adjacent to 550 Madison Avenue in a formerly enclosed mid-block passageway, between 55th and 56th streets in Manhattan. The garden is substantially larger than other local public spaces, with 48 trees, 200 shrubs, 6,300 bulb plants, and 10,000 herbaceous understory plants, according to architects, the garden's bloom calendar is carefully timed for plant species to offer a wide range of colourful hues, from pink to purple, blue and yellow, at different blooming dates from February to October each year.

The project, which has eliminated a former Sony store, adds public facilities such as "gender-inclusive" public restrooms and three kiosks with food and beverage offerings. “We removed a lot more than we added,” says Craig Dykers, a founding partner of Snøhetta.
 




 
Distinct, “upland,” “lowland” and “sheltered” garden sections feature tree-filled backdrops and shrub skirts, drawing inspiration from Northeastern mountain vegetation ranging from fine-textured and airy to thick luxuriant foliage.

Mountain Rosebay, Smooth Hydrangea and Bottlebrush Buckeye fill the garden's shrub skirt, with a tree assortment including Yellowwood, Sweetbay Magnolia and River Birch. Planters host a diversity of regional native species, from Soloman's Seal, Goatsbeard and Black Cohosh to Coral Bell and Sword Fern.

Working alongside Snøhetta on the garden was a team of leading landscape and horticulture companies, including Phyto, The Dirt Company, SiteWorks, Arup and Adamson Associates Architects.


 
In addition to the garden, building improvements include a Rockwell Group-designed club-level amenity space, including a concierge overseeing the Grand Hall, the Library, the Hearth Room, the Screening Room and the Pool Room. The club level also includes multiple dining offerings and kitchens for events.

The state-of-the-art fitness center at 550 Madison exceeds those of many luxurious private wellness and athletic clubs, with elegant space for health classes and workouts. And a new Gensler-designed lobby creates a cathedral-like experience, full of sunlight, bronze mesh materials, rust-colored leather and a greyscale terrazzo floor.

Sunshine from a soaring 65-foot arched-glass window spills light onto the building’s centerpiece artwork, “Solid Sky,” by the artist Alicja Kwade. The 1.2-billion-year-old, 24-ton spherical installation is made of Azul do Macaubas quartzite that was quarried in Brazil before being suspended by chains from 550 Madison's vaulted, triple-height ceiling.

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Snøhetta is an architecture, landscape, and interior design studio with offices in Oslo, Norway, and New York City, USA. Founded in 1989, it is led by Craig Dykers and Kjetil Thorsen. The studio, named in honour of Mount Snøhetta, the highest peak in the Dovrefjell mountains of Norway, has approximately 100 collaborators working on large-scale international projects across a wide range of typologies. Their approach is deeply collaborative and transdisciplinary, bringing together architects, designers, engineers, and landscape professionals to explore multiple perspectives depending on the nature of each project.

Snøhetta has completed a series of world-renowned cultural and landmark projects, including the Bibliotheca Alexandrina in Egypt, the Oslo Opera House and Ballet, and the Lillehammer Art Museum in Norway. Current projects include the National Pavilion of the September 11 Memorial Museum at the World Trade Center site in New York, as well as urban and landscape developments that aim to merge local identity, sustainability, and public experience.

In 2004, Snøhetta was awarded the Aga Khan Award for Architecture, and in 2009, the Mies van der Rohe Award. The studio is the only practice to have won the World Architecture Award for Best Cultural Building twice in consecutive years: in 2002 for the Bibliotheca Alexandrina and in 2008 for the Oslo Opera House and Ballet, consolidating its international prestige.

Kjetil Trædal Thorsen (born 1958 on the coastal island of Karmøy, Norway) is a co-founder of the studio and a multiple award-winning architect. He is a visionary and humanist designer who has redefined the boundaries of contemporary practice. Under his leadership, Snøhetta has produced iconic, sustainable structures that are highly sensitive to their cultural context, combining technological innovation with a profound environmental awareness. Thorsen’s work is recognized for its focus on social interaction, sustainability, and the creation of spaces that foster human connection and sensory experience, establishing a benchmark in contemporary global architecture.

Craig Dykers (born 1961 in Frankfurt, Germany) is also a co-founder of the studio and director of its New York office. Snøhetta has earned a reputation for maintaining a deep integration of landscape, architecture, and urban experience across all its projects. Key works include the Bibliotheca Alexandrina in Egypt, the Oslo Opera House and Ballet, the National Pavilion of the September 11 Memorial Museum in New York, and the redesign of Times Square. Professionally and academically active, Dykers has been a member of the Norwegian Association of Architects (NAL), the American Institute of Architects (AIA), and the Royal Society of Arts in England. He has served as a diploma juror at the Architectural College in Oslo and as a distinguished professor at City College, New York. He has delivered numerous lectures across Europe, Asia, and the Americas, and has undertaken public art installation projects, many of which explore the interplay between context, landscape, and human experience.

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Gensler is a global architecture, design, and planning firm with 46 locations and more than 5,000 professionals networked across Asia, Europe, Australia, the Middle East and the Americas. Founded in 1965, the firm serves more than 3,500 active clients in virtually every industry. Gensler designers strive to make the places people live, work and play more inspiring, more resilient, and more impactful.

Arthur Gensler Jr., FAIA, FIIDA, RIBA (1935—2021) founded the firm in 1965 together with his wife Drue and their colleague James Follet. He was widely credited with elevating the practice of interior design to professional standing. He was a Fellow of both the American Institute of Architects and the International Interior Design Association and a professional member of the Royal Institute of British Architects. Art graduated from Cornell University’s College of Architecture, Art and Planning and was a member of its Advisory Council. A charter member of Interior Design magazine’s Hall of Fame and a recipient of IIDA’s Star Award, he also received Ernst & Young LLP’s Lifetime Achievement Award and the Cornell Entrepreneur of the Year Award. In 2015, he wrote Art’s Principles to offer entrepreneurs the business insights he wished someone had given him when he was starting out.

Arthur Gensler was recognized as an industry icon and an astute businessman who propelled a small practice into the largest and most admired firm in the industry over the course of his 65-year career.

Diane Hoskins and Andy Cohen are Gensler Co-Chairs. Since 2005, they have been collaborative partners, overseeing the long-term strategy and day-to-day operations of the global practice known for its award-winning design innovation and research. Under their strategic guidance, Gensler has organically grown with some 6,000 people networked across 57 offices around the world, serving more than 3,500 clients in over 100 countries.

Andy and Diane are regularly sought out by top-tier publications including CNN, The Economist, The Wall Street Journal, Bloomberg, Fast Company, Harvard Business Review, and Fortune, among others, and are frequently invited to speak at premier conferences and events, including the United Nations Climate Change Conference, UN-Habitat, Urban Land Institute annual meetings, and more. They are champions of the power of design to create a better world and enrich the human experience.

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Philip Johnson was born in Cleveland, Ohio ((July 8, 1906 – January 25, 2005). He was descended from the Jansen family of New Amsterdam and included among his ancestors the Huguenot Jacques Cortelyou, who laid out the first town plan of New Amsterdam for Peter Stuyvesant. He attended the Hackley School, in Tarrytown, New York, and then studied at Harvard University as an undergraduate, where he focused on history and philosophy, particularly the work of the Pre-Socratic philosophers. Johnson interrupted his education with several extended trips to Europe. These trips became the pivotal moment of his education; he visited Chartres, the Parthenon, and many other ancient monuments, becoming increasingly fascinated with architecture.

In 1928 Johnson met with architect Ludwig Mies van der Rohe, who was at the time designing the German Pavilion for the 1929 Barcelona International Exposition. The meeting was a revelation for Johnson and formed the basis for a lifelong relationship of both collaboration and competition.

Johnson returned from Germany as a proselytizer for the new architecture. Touring Europe more comprehensively with his friends Alfred H. Barr, Jr. and Henry-Russell Hitchcock to examine firsthand recent trends in architecture, the three assembled their discoveries as the landmark show "Modern Architecure: International Exhibition" in the Heckscher Building for the Museum of Modern Art, in 1932. The show and their simultaneously published book "International Style: Modern Architecture Since 1922" was profoundly influential and is seen as the introduction of modern architecture to the American public. It celebrated such pivotal architects as Le Corbusier, Walter Gropius, and Mies van der Rohe. The exhibition was also notable for a controversy: architect Frank Lloyd Wright withdrew his entries in pique that he was not more prominently featured.

As critic Peter Blake has stated, the importance of this show in shaping American architecture in the century "cannot be overstated."[citation needed] In the book accompanying the show, coauthored with Hitchcock, Johnson argued that the new modern style maintained three formal principles: 1. an emphasis on architectural volume over mass (planes rather than solidity) 2. a rejection of symmetry and 3. rejection of applied decoration.[citation needed] The definition of the movement as a "style" with distinct formal characteristics has been seen by some critics as downplaying the social and political bent that many of the European practitioners shared.

Johnson continued to work as a proponent of modern architecture, using the Museum of Modern Art as a bully pulpit. He arranged for Le Corbusier's first visit to the United States in 1935, then worked to bring Mies and Marcel Breuer to the US as emigres.

From 1932 to 1940, Johnson openly sympathized with Fascism and Nazism. He expressed antisemitic ideas and was involved in several right-wing and fascist political movements. Hoping for a fascist candidate for President, Johnson reached out to Huey Long and Father Coughlin. Following trips to Nazi Germany where he witnessed the attack on Poland and contacts with German intelligence, the Office of Naval Intelligence marked him as suspected of being a spy but he was never charged. Regarding this period in his life, he later said, "I have no excuse (for) such unbelievable stupidity... I don't know how you expiate guilt." In 1956, Johnson attempted to do just that and donated his design for a building of worship to what is now one of the country's oldest Jewish congregations, Congregation Kneses Tifereth Israel in Port Chester, New York. According to one source "all critics agree that his design of the Port Chester Synagogue can be considered as his attempt to ask for forgiveness"  for his admitted "stupidity" in being a Nazi sympathizer. The building, which stands today, is a "crisp juxtaposition of geometric forms".

During the Great Depression, Johnson resigned his post at MoMA to try his hand at journalism and agrarian populist politics. His enthusiasm centered on the critique of the liberal welfare state, whose "failure" seemed to be much in evidence during the 1930s. As a correspondent, Johnson observed the Nuremberg Rallies in Germany and covered the invasion of Poland in 1939. The invasion proved the breaking point in Johnson's interest in journalism or politics and he returned to enlist in the US Army. After a couple of self-admittedly undistinguished years in uniform, Johnson returned to the Harvard Graduate School of Design to finally pursue his ultimate career of architect.

Among his works is The Glass House, where he lived until his death, the headquarters of AT & T, the National Centre for Performing Arts of India, the Crystal Cathedral in California, the Four Seasons Restaurant in the Seagram Building, the Lincoln Center in NY or Puerta de Europa towers in Madrid.
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Published on: November 26, 2022
Cite:
metalocus, JOSÉ JUAN BARBA
"A new life, a new garden. Revitalized 550 Madison by Snøhetta" METALOCUS. Accessed
<https://www.metalocus.es/en/news/a-new-life-a-new-garden-revitalized-550-madison-snohetta> ISSN 1139-6415
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