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Jenga tower nyc 20168/1/2023 In part because of the patterns the negative space create from the decks that are protruding out. Subsequent times that I've walked by this bottom view has grown on me. The bottom half relied on optical impressions to give the jagged form. Its that view that is recognizable too - hence why the building is nicknamed the “Jenga Tower” at 56 Leonard.Ĭoming under the building for the first time I was surprised and a bit disappointed at it. Depending on the direction a viewer is looking at the building, blocks of the building are being pulled out and moved around. Aesthetically it is so unfamiliar yet familiar at the same time. I like this building for the same reasons why most people do. “I get to design exactly what I want.Its by no means the tallest building in New York but it is unmistakable from any part of the city. “I feel so lucky,” she says of this stage of her career. (The latter were crafted by Donnersberg and are available at Maison Gerard in New York.) “But we separated the space into two parts.”Įxtensive ceramics, like the Katherine Glenday vases balanced on the lip of a range hood or the Georges Pelletier totem tucked into the primary suite, keep mostly spare rooms from feeling too austere, as do amusing touches like the shaggy teal Philip Arctander chair in the library or the mushroom-inspired side tables in the living room. “I was a little worried about all the light colors at first,” Donnersberg says, noting the young family now has four kids under the age of ten. “Because of all the glass, there aren’t really walls to hang things,” she says, noting that, in this residence, “Manhattan is the work of art.”Īt the client’s request, she enveloped the abundant cityscape-panoramic tableaux that evolve with the daylight, weather, and seasons-in a dappled cloudlike palette. While Donnersberg, who favors neutrals, typically reaches for art to bring in dramatic accent hues, that wasn’t possible here. Gunnar Nylund vases, Damien Langlois-Meurinne pendant, and custom rug from Rosemary Hallgarten. (She added a second office in her hometown in 2009.)Ī pair of Raoul Guys chairs and a custom Paul Reber banquette flank a table furnished by the client. Since opening her first office in New York in 2007, Donnersberg has frequented design fairs around the globe and cultivated relationships with gallerists and artisans. Fortunately, she had an array of options to present. “I knew right away it would have to be custom,” Donnersberg says of the table, given the proportions of its setting. Paul Reber worked too from the outset of the project to transform the apartment, in his role as interior architect. Then came incontrovertible proof that Donnersberg was dealing with a major space: the table’s future setting, a glass-sheathed penthouse in the building known as the “Jenga Tower,” designed by the Pritzker Prize–winning firm Herzog and de Meuron. “It had to be large enough to seat a dinner party for 12,” Donnersberg says-practically Brobdingnagian by New York City standards. The piece’s size was the first indicator this was no ordinary project. Could Donnersberg help the former makeup artist source a dining room table for her young family’s Tribeca apartment? In 2018, an Instagram follower reached out to Parisian designer Emma Donnersberg with a minor request.
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