march 14, 2006 lpc hearing...

IN THE MATTER OF:

LANDMARKS PRESERVATION COMMISSION HEARING

PUBLIC MEETING 8W 70th STREET

March 14, 2006

HELD AT: 1 Centre Street, 9th FloorNew York, NY

TRANSCRIBER: SARITA VIALES

www.protectwest70.org

I N D E X

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PROCEEDINGS 3

MALE VOICE 1: Thank you.

FEMALE VOICE 1: [Unintelligible]. Go

back to item number one, an application for

(inaudible] Borough of Manhattan, Docket

number 0 [inaudible], Lot 1120, Lot 36, 37, 8

West 70t'' Street, [inaudible] Shearith Israel

Synagogue,. Individual Landmark, and also the

Upper West Side, CentralPark West Historic

District. An Academic Classical and Beaux-

Arts Style synagogue designed by Brunner &

Tryon, and built in 1896-97. Application to

demolish the existing community house and

construct a new building. And this was last

presented to you on January 17th

MALE VOICE 2: Yeah, yeah, I know. I

know.

[Person whispering]

MALE VOICE 1: Sure, let me just find

[inaudible]. That one?

MALE VOICE 2: [Inaudible].

[Background Noise]

FEMALE VOICE 2: Good morning,

Commissioner [inaudible].

MALE VOICE 2: [Unintelligible].


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PROCEEDINGS 4

MALE VOICE 3: Yes, Your Honor,

[unintelligible].

MS. MAISHA HUNTER: Maisha Hunter, M-A-

I-S-H-A, Hunter, H-U-N-T-E-R. Good morning,

Commissioner [inaudible] Preservation to

stop. The application before you was

[inaudible] a proposal to demolish the

community house [inaudible).

[Background Noise]

MS. HUNTER: And also construct a new

[inaudible].

[Background Noise]

MS. HUNTER: [Inaudible] prior to

[unintelligible]. We'll present the changes

that have been made to the proposal since the

application was last presented.

MALE VOICE 1: And-I'll take a motion

please to open the hearing for that purpose.

MALE VOICE 2: [Unintelligible].

MALE VOICE 1: Second, without objection

the hearing is open, and thank you Maisha.

Can [inaudible]. We're going to wait a

moment and try to get the stenographer all

cleared up. If you bear with me, everyone,


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PROCEEDINGS 5

bear with us all.


MALE VOICE 1: [Unintelligible).

MR. CHARLES PLATT: [Unintelligible]

Charles Platt, Platt (unintelligible], this

is Ray Dobell [phonetic]. We're going to

take you through the responses that we have

made to the last hearing -here where there was

discussion of a number of issues, the height

of the penthouse, the number of floors on the

penthouse [inaudible).

[Background Noise)

MR. PLATT: [Inaudible] increase to the

size of the penthouse, the change to the base

of the building, the entry through this

addition into the synagogue, and the change

of an expression of the ends of spandrel,

brick spandrels on [inaudible]. Those three

changes are what we will take you through.

Ray Dobell, (inaudible) will begin with basic

changes. We have the proposed change over

here, and the last change we looked at here

in [inaudible). So this is new, this is old.

[Unintelligible] the first thing you'll.see


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PROCEEDINGS 6

is the, previously had the, the penthouse on

this level, we have a roof, the penthouse.

[Unintelligible] the streetscape and we

have pushed. it back one foot six inches from

(inaudible] the synagogue. And [inaudible]

that is best shown on the next tier. This is

the general streetscape if you remember, and

in relation [inaudible] of this penthouse to

the adjoining building and the rest of the

block. (Inaudible).

MR. RAY DOBELL: This shows more

directly, walking down you can see the

profile [unintelligible]. [Inaudible] here,

the profile (inaudible) Central Park West

[inaudible] here. Again, we're going to

[inaudible] six feet and push it back from

the face of the synagogue to the new location

there.

MR. PLATT: [Unintelligible] mention

this (inaudible] in general here that there

was some discussion and question last time

about the expression at the end of these

spandrels here and the base of the building.

We will take you through those in detail as


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PROCEEDINGS 7

we come to them.

MR. DOBELL: Here is a rendering of, of

the new design, and what you'll see we have

done to address the concern of the lack of

additional support of the spandrels, we have

introduced a column feature that connects the

edge of the brick spandrels to the curtain

wall planking the synagogue. And we looked

at that criticism as an invitation to

strengthen the argument for the development

of this facade. So, what we have done in

addition to introducing the column that you

see here is we also shifted the planes of the

glass at that location. And [inaudible] see

[unintelligible] wall here, the glass is now

pushed back approximately a foot from the

brick plane.

So we have the, that points from street

face back to the synagogue [unintelligible].

The brick, [inaudible] brick is at the street

line at zero/zero. The glass within the

[unintelligible] openings and the spandrel

locations is pushed back six inches. The

glass at the corner element here is pushed


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PROCEEDINGS 8

back one foot six. And the limestone

planking is pushed back three foot six from

the street. It works quite nicely, we felt

it gave us an opportunity to strengthen the

entrance sequence, and it resolved quite

nicely the [inaudible] of support.

MR. PLATT: We might just say there that

when you said it strengthened it, we actually

think it was an improvement that the

Commission had helped us in the expression of

that part of the building. So, thank you.

MR. DOBELL: And here we see in detail

how the new, the new street component works.

The column coming through which is, which is

eight inches wide as it planks through the

brick panel, and it grows to one foot three

as it penetrates through to the first floor.

Surrounding the outside of the column we have

two pairs of wood and glass and bronze doors,

which another discussion [inaudible] that the

entry [unintelligible] in connection with

the, with the [inaudible] behind it.

So, the added doors we think really

improve that street character quite, quite


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PROCEEDINGS 9

[inaudible]. We still have the metal and

glass canopy across the front. And the doors

are composed of wood panels with (inaudible]

strips and glass in the center [inaudible],

and you can see how that works down here.

MR. PLATT: In addition to that column

coming down breaks the plane of the canopy

(inaudible] so that it reinforces the

vertical feeling of that and the plane that

you see from, especially from the east

looking west.

(Crosstalk)

MR. PLATT: Very different expression

there for [inaudible).

MR. DOBELL: We have made a cork model

of how the new face works which I'll pass

around. -


MR. PLATT: Position it right here.

MALE VOICE 4: It's a cylinder column?

MR. DOBELL: No, it's a, it is a U

shaped column that's offset to take into

account the change of planes of the brick and

the glass.


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PROCEEDINGS 10

MR. PLATT: You-I think you can see that

better in the plan view when it comes up

[inaudible]. Maybe we could [inaudible].

You have it there.

MALE VOICE 3: [Inaudible] one up above.

MR. PLATT: You, you, you should note

that this column that was set back here,

which Ray mentioned that-this whole plane has

been pushed back so that you see this entire

end now with a metal piece that comes down

the length of the building. And when you see

that [unintelligible] a piece there

[unintelligible]. It points [inaudible], one

points east, and you're looking at

effectively a one foot column from there,

although the expression directly opposite is

somewhat different except at the bottom where

you see the heavy column coming through and

supporting the spandrel end here.

MR. DOBELL: This is [unintelligible]

elevation for the mid section of it again,

just simply showing how [inaudible] offsets

the work through the elevation of the

building.

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PROCEEDINGS 11

MR. PLATT: You can see here, and he'll

pass this to you if you wish the setback of

that, and how you look at that end of the

spandrel. Whereas, it [inaudible] straight

across before this last plane continuing

going through.

MR. DOBELL: And then at the top of the

building you can see [unintelligible] of the

penthouse that we removed, and the, a slight

11 II decrease in the width of it. So we offset

12 11 [unintelligible] from the edge of the

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limestone to the face of the penthouse. It'snow nine foot six where it had been eight

previously. The (unintelligible] that you

see and the [unintelligible] on the top

projects a four foot [unintelligible] off theroof of=the penthouse. [Inaudible] is quite

low (inaudible]. Those are [unintelligible].

MR. PLATT: This is unrehearsed routine

here.

MR. DOBELL: Central Park, Central Park

West.

[Crosstalk]

25 } MR. DOBELL: Okay. The removal of the


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PROCEEDINGS 12

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penthouse that you see here, otherwise, this

elevation [inaudible]. More details

[unintelligible] from the north side of

Street again, [unintelligible] of the

penthouse.

70th

MR. PLATT: And the [unintelligible]

coming down somewhat more than they did

before.

MR. DOBELL: And finally, [inaudible]

rendered elevation of that [inaudible]

showing the same thing. This elevation above

the [unintelligible], the limestone

[unintelligible] of the penthouse and then

15 the [inaudible]. And finally, the back of

16 the building. Again, the only change to this

17 elevation is the, is the reduction

18 [unintelligible]- the rooftop penthouse.

19 11[Inaudible] here's the rendered version.

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(Inaudible]. The single penthouse

[inaudible].

MR. PLATT Otherwise, this elevation is

unchanged.

MR. DOBELL: [Inaudible] before and

25 11 after the next, the old, the similar view to


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PROCEEDINGS 13

before and after [unintelligible] view from

West 70th Street virtually showing no change

because the penthouse is not visible.

MR. PLATT: Except that you do see that

column coming down that (inaudible]

expression, so that as you walk down the

street you sense that very strongly.

MR. DOBELL: In view. number four which

is a view a little farther down 70th Street,

and you do appreciate the column coming

through. (Unintelligible) configuration and

that the column offset. View number five

which is the slot between (unintelligible]

and the synagogue, you're picking up

[inaudible], you're picking up simply a

little less of the penthouse which

[inaudible] 22 there. The view from Central

Park, again, is what's happening here is just

simply picking up less of the penthouse.

This is a (unintelligible) Columbus and

Central Park.

The view number seven is just the view

from [unintelligible] West 69th Street

through the block. You're picking up a.


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PROCEEDINGS 14

little less penthouse in this view. From

Columbus Circle which is something we've

really never been

are just...

MR. PLATT:

[interposing].

MR. DOBELL:

MR. PLATT:

able to see from anywhere

We were asked why

(Inaudible).

And what. you're going to

see, [inaudible] what, what, and what that

image was would be from the avenue, from

Columbus Avenue and that [unintelligible]

true perspective.

MR. DOBELL: And. [inaudible) you

accepted the changes [inaudible].

MALE VOICE 1: [Inaudible] questions?

Thank you all. Thank you, Charles.

MALE VOICE 3: [Unintelligible] and the

elevation, the vertical element? I know the

metal [inaudible] going through the brick

work as well?

MR. PLATT: Channel [inaudible].

MR. DOBELL: The material, we have

[unintelligible] limestone [unintelligible]

at the, at the edge of the building which is

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PROCEEDINGS 15

then under [inaudible]. That then lies at

the too and turns back down 70th Street. And

it also turns the corner on Central Park West

so that the [unintelligible] around the

synagogue is all [unintelligible] limestone,

and arranged in the configuration. The, the

brick is a, is a brick panel which you see

here [inaudible) brick to be put into the

[unintelligible] at that location forming the

residential expression of the building.

The windows themselves, the metal

components of the windows [inaudible] paint

[inaudible] in this color, [unintelligible]

finish on the aluminum. The glass is a one

inch thick insulating glass with

[unintelligible], so it's clear glass. It's

not [inaudible), energy efficient-glass.

Those paint [unintelligible] the column would

be painted of the same color as with the

metal frame (inaudible]. And the metal

[unintelligible] with the glass canopy.

MR. PLATT: The only thing we don't have

here is the white (unintelligible] views as

the screen with the glass at the, at the


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PROCEEDINGS 16

base. There was some discussion last time

about the permeability and the ability to see

through the, these planes of entry down here.

This allows-we take a screening of the

inside, but with the exchange of light and

the ability to see forms behind it as you

would through an open screen. That material

is not here. We didn't have a sample of

white [unintelligible], but that is here, and

these are wood doors with the same

[unintelligible] going in front as the

pattern in front of the door.

MR. DOBELL: And then at the top of the

building we have the same metal and glass

assembled.. And we have flat metal panels

forming out of the penthouse, and that would

be the same [unintelligible]. The back of

the building [inaudible] going through

[unintelligible] brick [unintelligible] in

the back. [Inaudible] the older version of

[inaudible]. All of this brick would be this

lighter buff brick. And here, you can see

how the limestone turns around the corner.

So, the first bay of windows in the back


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PROCEEDINGS 17

would be limestone, and that, you can see in

this location here.

MR. PLATT: All of those [inaudible]

represent the previous [unintelligible).

MR. DOBELL: Limestone wraps the corner.

MALE VOICE 4: And [unintelligible)

those vertical elements that [inaudible]

throughout the entire building, is that

metal?

[Crosstalk)

MR. DOBELL: (Inaudible) be. laid into

the brick that would be `inaudible] the same

[unintelligible].

MR. PLATT: You can see that they are

going through the window, picking up

[unintelligible) there and then continuing

through the brick, and with this horizontal

element crossing the [inaudible).

MALE VOICE 1: [Inaudible] thank you all

very much. Let me preface the discussion

here by saying [inaudible) thank you again

for the presentation today. And then

(inaudible] year (inaudible] work

presentation today. And [unintelligible] if


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PROCEEDINGS 18

you will, discussion. Thank you for the

public hearings that have been held

(inaudible) numerous. This has been a. long

process, but one that I [inaudible] that Ifind today personally, and go around the

table [inaudible], and that has come to an

ending that is an appropriate one and a good

one, [inaudible] the applicant [inaudible),

and I hope for the community ultimately.

And I believe that my concern, speaking

for myself, briefly at the outset was

[inaudible] height and massing of the

building. That [unintelligible) found that

it's come in as compatible with the adjacent

buildings and other buildings besides these

in this historic district. And I think that

result has been achieved, and as a

[inaudible]. I think the design is actually

as we've gone along, and I just heard

expertise of architects and design

[inaudible} skill and expertise and time

that's also gotten better [inaudible] and

more appropriate as that process has

unfolded. So I find myself in a good place


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PROCEEDINGS 19

(inaudible].

And also, again to thank everyone for

what they've-how they've brought us to this,

to this place. So, I [inaudible]

commissioners [inaudible] discussion and

[inaudible).

MALE VOICE 4: Mr. Chairman, before you

conclude the hearing, [inaudible) brief

comment [inaudible] oppositional issues that

united and represented [inaudible] one

[inaudible].

MALE VOICE 1: Let's have this

discussion, and then [inaudible] conclusion

to the discussion.

MALE VOICE 4. Thank you.


MALE VOICE 5: I think that this

proposal is a wonderful one, and has really

answered all the questions that I have had

about it. Again, I think the massing with

the removal of the upper penthouse is

absolutely in line with the surrounding

buildings, specifically the building

adjacent, with the single setback penthouse


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PROCEEDINGS 20

that is partially visible. I believe that

the addition of the metalwork that terminates

the brick fingers that we call-we labeled

last time as a wonderful solution here, and

has strengthened the entrance, and has

provided a wonderful modulation between the

brick masonry on the right, and the glass and

limestone on the left.

Again, I've always felt that the

limestone frame that is adjacent to the

temple and soars over the main bulk of the

building is inspired. And also that there's

a delicacy in this facade that-in the

treatment in the verticals and horizontals of

the metalwork, which will give a level of

detail to this building that will, I think,

be very comfortable and will enhance the

adjacent building. So, it is thoroughly

modern, but I think that it speaks very

eloquently both to the temple adjacent and to

the other brick apartment buildings. And I

guess in sum, I feel this is not merely an

appropriate addition to this district, but a

very positive addition, and will become, I

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PROCEEDINGS 21

think, stand on its own as a landmark in this

district.

MALE VOICE 1: Thank you. Tom.

TOM: I was wondering what would happen

when we first heard this application, I

wondered where the applicants would go

because there was a great deal of concern

about the height of the building, and its

relationship to the streetscape and the

historic district. And I, I felt the

applicant had a daunting task to respond to

some of the objections that were raised. But

my feeling is that this [unintelligible]

proposal is appropriate as the Chair

mentioned because of the height and the

massing.

But also because of its quality as a

piece of architecture, and I commend the

applicant, I think it's a, it's both an

example of responses, dialogue of the

community, and also a successful solution to

a complex architectural problem. And so, I

can support it.

MALE VOICE 2: [Inaudible] thank you,


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-1_

Tom.

MALE VOICE 1: And we should also

(inaudible) community house that will be

demolished [inaudible], the house-a structure

that will result (inaudible) historic

character [inaudible], and make sure that's

stated on the record. [Inaudible].

[END TAPE 1 SIDE A] -

[START TAPE 2 SIDE B]

MS. HUNTER: I've listened carefully and

been very responsive. And I feel very

comfortable with the proposal that's before

us now. I do think it is an elegant solution

in many ways to what is a difficult and

complex problem here, to try to insert this

building into the existing fabric between the

existing synagogue and the adjacent property.

So I em very [break in audio] in this

location adjacent to the synagogue. And I

also think that the facade has come a long

way. The materials are quite elegant, very

appropriate for the district. I think will

blend nicely with the materials in the

district.

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PROCEEDINGS 23

But I also think that there is a rich

facade here that has been developed with an

appropriate amount of depth and layering that

will make it elegant, and elegant and

appropriate for the district. So I think the

overall articulation of the facade is quite

good. And the scale of the openings, and the

four, four to four heights all are working

quite nicely with adjacent neighbors and as a

bridge between these two buildings.

I also think that the adjustments that

have been made to the facade in response to

our comments last time about the way the

brick terminates on the facade, and this

addition of a vertical element there is a

good one, and I think now is really working

quite nicely in terms of its overall

integration of the components. So, I'm very

comfortable with this as a very elegant and.

appropriate solution for this site.

MALE VOICE 2: Thank you [inaudible,].

MALE VOICE 6: Yeah, I have to echo

those [inaudible] and comments. I think that

this has been a long process and a difficult


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process in arriving at this. But it was a-

it's a complex site given the context, the

residential context of the street and the

adjacent building, the adjacent synagogue. I

think that the applicant has been very

successful in creating a composition that

both balances the context, and creates a

(unintelligible) transition between the

synagogue and the residential character of

the building.

That's not an easy thing to do, and I

think it has been accomplished extremely well

in this particular instance through the

choice of materials. I think that thematerials, the balancing of the introduction

of a horizontal as well as, or rather

vertical lines to balance the composition is

extremely important in this case. I would-I

think the success of this building, the

design will be, will also depend (inaudible)

on the quality of the material, the subtlety

that are here in terms of the articulation,

the depth of-and the relationship between the

different lines that have been expressed, you


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PROCEEDINGS 25

know, could be very successful if the

materials are strong.

But if you use a weak [unintelligible]

of aluminum, then you can lose the structural

beauty that it might have. So I. would

recommend that, you know, (unintelligible]

now. This is the time to continue with the

same level of detail that they have shown. I

think that the massing is appropriate. It is

a massing that relates to the street and to

its proximity to the Central Park West. And

overall, I think that the building will make

a contribution to the streetscape.


[Unintelligible).

MALE VOICE 7: Well, this is a fine

example of what can happen in careful

evolution if permitted. And here, we have a

contemporary design, finally in complete

harmony with the classic building next to it.

..It was difficult and it had to be done very

carefully. It didn't happen overnight. But

it is very successful. I think the reduction

of the height was one of the major things


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that we felt from the beginning was

necessary. And that [unintelligible]. Also,

the redesign of the entrance relating to the

old building is now very successful, and they

work together beautifully. All in all, I

think that it proves that it is possible that

classic and contemporary can work together.

MALE VOICE 1: Thank-you. (Inaudible)J.

MALE VOICE 8: I agree. I think the

review process has helped this project

enormously. And both the applicant and the

community should be commended. I know that

both sides may not want to take a bow, but I

think they could. The height and massing are

in line. And I think the new building is

very respectful to both the temple and the

neighborhood.

FEMALE VOICE 1: Yeah, I echo all those

comments, and add that my big concern was the

degree to which it would be able to be

somewhat (unintelligible] to the synagogue.

And I think that's been accomplished. At the

same time an exciting and talented design

will be added to (inaudible) as well as.the

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building that it's replacing will not

[unintelligible] will not be a detriment to

[inaudible).

MALE VOICE 1: At no point did I leave

unaddressed the Roberta [inaudible]

statement. Roberta is in Tokyo I believe.

[Inaudible].

MALE VOICE 5: Yeah.-

MALE VOICE 1: [Inaudible] 14 thousand

odd miles away, wanted to have a statement

read.

MALE VOICE 5: So, this is from Roberta

Gratz (phonetic]. "This project has come a

very long way from the time it would have so

dramatically exceeded the height limits of

the Historic District, calling, causing

historic districts all over the city to be in

jeopardy. I thank the synagogue and its

architects for the responsiveness so far to

the requests of the commission, and for

exhibiting respect for the historic fabric of

the neighborhood. Clearly, this is an

enormous improvement, and will still add

generously to the already generous space that


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the synagogue enjoys."

"Given the distance the project has

come, I wish I, I wish I could

enthusiastically endorse the current plan.

In fact, I was looking forward to doing so

for any number of reasons. Shearith Israel

is such a significant landmark in the history

of New York City, and in the history of

Sephardic Jews in America. And I have a

personal attachment to this synagoaue, since

both my daughters were barmitzvahed there

years ago. But there is one remaining knotty

problem to this proposal. The so called

penthouse, even at one story is actually an

extra floor with modest setbacks."

"According to the Buildings Department,

a penthouse does count in the height of a

building if it occupies less than a third of

the floor area of the roof. This penthouse

is 28/70 feet or 64% of the roof area of

44/80 square feet. Thus, the penthouse would

need to be 14/93 feet to legally qualify as a

penthouse. The question then is does the

Landmarks Commission have a different


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definition for penthouse than the Buildings

Department? If so, what is it? Is it the

top floor of any building as long as it has

setbacks? To date, there is a standing

penthouse definition that this particular

proposal does not meet."

"Should landmarks establish a new one

for current and- future use to be applied here

first, I might be persuaded to accept that

new definition and vote approval of the

project as currently configured. Short of

that occurrence, I regretfully vote no."

MALE VOICE 1: Okay. Counselor, as you

know, the procedure here is, this is a public

meeting. And no public testimony allowed.

MR. MARK LEBOW: I promise not to

testify only to argue.

MALE VOICE 2: If the no argument

[unintelligible].

MALE VOICE 1: The hearing is already

open because the applicant-but if you could

summar-if you would make an incredibly brief

statement, I'm going to allow you to do that,

I'm being advised [inaudible] not to. But

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please do it, do it fast. Leave a statement

that would allow us-that would be here for us

to be part of our (inaudible] consideration,

but please indulge us and...

MR. LEBOW: T_'ll go so fast you won't

believe it.MALE VOICE 1: Okay. Identify yourself.

MR. LEBOW: I'm Mark.Lebow, I'm the

lawyer for-of the three surrounding apartment

buildings and everybody else on West 70th

Street.

MALE VOICE 6: What's your name, sir?

MR. LEBOW: Say again.

MALE VOICE 6: Your name?

MALE VOICE 1: Spell your name.

MR. LEBOW: M-A-R-K, Lebow, L-E-B-O-W.

MALE VOICE 6: And speak loudly please.

MR. LEBOW: Say again.

MALE VOICE 6: Speak loudly.

MR. LEBOW: Mr. Chairman, I have ask

repeatedly that this session be postponed

because this is the first time that the

organized opposition, which consists of

everybody on West 70th Street in the


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surrounding three apartment buildings have

seen this new project. I think that due

process would require us to submit our

written position to this for your

consideration before you take a vote. You

have apparently denied. that request, so I

will then sum up rather briefly.

This building is opposed by the

10 community and it still is. Why, if you take

11 a look at this building which the Community

12 Board rejected because it was unattractive,

13 which the community doesn't like because it's

14 too big. Why would you approve this

15 building? The mid block zoning, and the mid

16 block historic district provides for

17 brownstones of four to six stories. This

18 building is twice as big as that.- It is even

19 bigger than the anomalies which are

20 immediately adjacent to it to the west and

21 one further down the block. It is too big.

22 If you permit a building that is twice as big

23 as the permissible zone to be put next to a

24 historic building, in a historic district,

25 you are opening a Pandora's box for what will


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happen not only up and down Central Park

West, where there are many low lying historic

buildings in a historic landmark district.

But the same thing will happen in other

places in the city such as Brooklyn. And I

ask you this, why do you want to do it for

this building? This building may be a litt e

less ugly than it was before. But it

certainly is not going to attract

preservationists a hundred years from now.

Nor will it make it any historical or

architectural texts. It is a humdrum

building. And why would you go out of your

way to say that this building is appropriate

when everything else in the mid block

neighborhood is half the size? Why do you

want to do it for this building? I suggest

that you should not do it. Thank you.

MALE VOICE 1: Take a motion to-yes?

MALE VOICE 6: We would simply like to

thank the Commission for its [phonetic].

MALE VOICE l: Step up. Yes.

MALE VOICE 6: Shall we [inaudible]

responses (unintelligible). We would like to


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thank the Commission and the staff for these

years of collaboration on this project.

[Inaudible] appreciate [inaudible].

MALE VOICE 1: Motion to close. Thank

you. Counsel. [Unintelligible] close the

hearing second? Without objection the

hearing is closed, and the [inaudible].

FEMALE VOICE 1: [Unintelligible] 8 West

70th Street. [Inaudible] Shearith Israel

[inaudible] Historic District. An Academic

Classical and Beaux Arts style synagogue

designed by Brunner & Tryon, built in 1896-

97. The application is to demolish the

existing community house and construct a new

building. We recommend approval, finding

that the demolition of the four story

community house will not eliminate a building

that contributes to the special architectural

and historic character of the Upper West

Side, West Central Park, [inaudible] Historic

District.

But the height and massing of the

proposed building will be compatible with the

adjacent building and other apartment

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buildings located on side streets in the

historic district. That the facade of the

new building will be composed of a

traditional arrangement, a [unintelligible]

determination which is characteristic of the

adjoining apartment buildings in the historic

district. That the composition of the

[unintelligible] large (inaudible] glass

windows on the east side which become

[unintelligible] openings on the north side.

(Inaudible) transition [inaudible] monumental

scale of the synagogue and the residential

scale of apartment buildings and (inaudible]

houses [inaudible).

And that the limestone light colored

brick [unintelligible] materials for the new

buildings will compliment the limestone

(inaudible) synagogue, and will be harmonious

(inaudible] material colors and (inaudible).

That the setback placement of the new

building's facade adjacent to the synagogue

[inaudible) portion of the building. That

the floor to ceiling height of the new

building will be proportional to those found

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in the adjacent buildings, and the supportive

relationship between the new building and its

neighbors to the left on West 70th Street.

[Inaudible] orientation and good light

configuration of the aluminum [inaud.ible]

will help to reduce the scale of the opening,

and to [inaudible] a balance between the

vertical and horizontal elements of the

facade. That the symmetrical [inaudible]

arrangement [inaudible] and [inaudible)

material [inaudible] design and

[unintelligible] facade which will be seen in

context with the [inaudible] will result in a

differential relationship to the synagogue,

and will not detract from the special

architectural character of the individual

landmark, or the Upper West Side Central Park

West Historic District.

That the south face of the facade will

[unintelligible] as a secondary facade due to

a simpler design and material [inaudible].

That the symmetrical arrangement, low profile

and neutral finish and the mechanical

equipment which will (inaudible] in context

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PROCEEDINGS 36

2 with the synagogue will help to minimize the

3 [inaudible] the penthouse. That the

4 J (inaudible) that location of the community

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house [inaudible]. [Inaudible] keeping with

faces of the other apartments in the historic

district. That the apartment entrance

located at the western most portion of the

West 70th Street facade is well scaled to the

hierarchy of the new building space.

And that the proposed metal and glass

12 [inaudibleJ canopy of the entrance

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[inaudible] West 70th Street will be well

scaled to the facade, and will not overwhelm

or detract from the new building [inaudible].

MALE VOICE 1: [Unintelligible] second,

all in favor?

[Everyone responds I]

MALE VOICE 1: Opposed? It's approved.

Thank you. Thank you all very much.

MALE VOICE 4: Thank you all.

[END OF HEARING]


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C E R T I F I C A T E

I, Sarita Viales certify that the foregoing transcript

of proceedings in the Landmarks Preservation

Commission Hearing, 3-14-06 Public Meeting 8W 70th was

prepared using standard electronic transcription

equipment and is a true and accurate record of the

proceedings.

Tape # 70163-a,70163-b

Counter #s to

Signature Sarita Viales

Date 3/21/06


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ERRATA SHEET FOR TRANSCRIPT OF

RE: DATE TAKEN:

PAGE LINE # CORRECTION REASON

WITNESS' NAME

SUBSCRIBED AND SWORN TO THIS

DAY OF r 200


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march 14, 2006 lpc hearing...

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