The project is situated on a quiet street in the NoHo neighborhood of Manhattan. The neighborhood is marked by two traditional architectural styles, represented by individual buildings of great distinction. A pair of exuberant cast iron buildings anchor the west end of Bond Street and are notable examples of the very open, large scale, lacey qualities of that style. Just to the south is Louis Sullivan’s beautiful Bayard-Condict building, the best example of the decorated, heavy masonry buildings equally evident in the area. The 25 Bond building combines the qualities of both types in a composition very clearly of our time.
The façade of the building employs two types of stone that create a double-layered screen wall of varying widths and irregular separations. The stone is set 8” to 18” in front of a bronze and glass wall with regularly spaced, floor to ceiling sliding sections, which run the full width of the building. The degree of openness of the stone screen wall was exhaustively studied to be similar to the cast iron neighbors and the depth of the façade very carefully calibrated to the typical depth of the most distinctive buildings of the area. The façade was also detailed to enjoy the rich materials and craft at a close in scale as evidenced by the bush hammered finish and pinwheel jointing of the stone, the raw bronze finish of the window wall and the cast glass of the entry canopy. The rear of the building opens up to a tight urban block interior and then to another street by way of an alley. That accidental façade, viewed through the alley, was designed with the same themes and as a corollary to the more formal front. The intention of the design was to be muscular yet graceful and distinctive. It wanted to be about the traditional architecture of the neighborhood yet thoroughly new.