COUNTS architects

The Staten Island Museum

Year: 2005-2010

Firm: Gluckman Mayner Architects (now Gluckman Tang Architects)

Role: Project Architect

One of five connected historic buildings in the Snug Harbor Cultural Center, Building A is a former dormitory for retired sailors that was renovated as a new home for New York City’s only general collection museum. The galleries display works, objects, and artifacts from the Museum’s art, natural science, and history collections.

The Greek Revival style building is listed on the National Register of Historic Places. It is also a New York State and New York City Landmark. Because of these listings, significant changes to the building’s exterior were not permitted. To achieve the environmental conditions established by the Association of Art Museums, the building’s envelope was upgraded by installing a new liner inside the exterior brick walls. New interior windows with thermally-broken frames and insulated glass units maintain the integrity of the liner’s thermal and moisture barriers, while preserving views of the historic wood windows. Scrim shades and refurbished wood shutters are used to control natural lighting in the galleries.

The cross-axial diagram that characterized the historic interior was retained, but the new structural intervention allowed for large, generous galleries at both ends of the building. The cruciform hallways at the center reinforce the axial layout. The historic stair, new fire stair, elevator, and public restrooms are located in the four corners that define the hallway. The installation of fire-rated glass entrances to the adjacent galleries allows the cast-iron stair to remain open while also serving as an egress stair, preserving valuable space for exhibition.

A closed loop geothermal well field provides heating and cooling for the building and was a critical component to the project receiving LEED Gold certification. The location and installation of the well field required coordination with the New York City’s Parks Department which oversees the grounds and landscape of the Snug Harbor campus.

Photo Credits: Bruce Damonte: 1, 2, 4, 6, and 8; Graham Hebel: 3, 5, and 7

Museum of Contemporary Art San Diego

Year: 2003-2007

Firm: Gluckman Mayner Architects (now Gluckman Tang Architects)

Role: Project Architect

The Museum of Contemporary Art San Diego expanded its downtown presence by creating exhibition spaces in the newly renovated Baggage Building of the Santa Fe Depot. An adjoining three-story structure on the site of the former Railway Express Agency building was also constructed. 

The 13,680-square-foot Baggage Building was converted into a Kunsthalle-type exhibition venue. The 13,750-square-foot addition was a contemporary, contextual response to the surrounding historic structures.

The Depot continues to function as a transportation hub, with ongoing use for local and regional rail service, as well as for Amtrak.

Site-specific commissions by artists Roman de Salvo, Jenny Holzer and Richard Serra were included in the project’s scope.

Awards: 2007 AIA San Diego Chapter Merit Award Winner

Photo Credits: David Heald

Trinity Church

Year: 2019-2020

Firm: MBB Architects

Role: Construction Administration

Trinity Church undertook an extensive restoration and renovation that encompassed the church interiors and the surrounding terraces and grounds.

COUNTS architects is assisted MBB Architects during the construction administration phase. Responsibilities include MEP and structural coordination for the three pipe organs, site meetings, submittal reviews, production of supplemental drawings and sketches, and construction directives.

Photo Credits: © Colin Winterbottom

Year: 2020-2022

Firm: COUNTS architects DPC

Role: Architect

A renovation of the home for Union Local 580: The New York City Ornamental Ironworkers.

This project included an enlargement of the first floor offices, the addition of a new teacher’s lounge on the second floor, and new terrazzo floors at the lobbies. The HVAC system was redesigned and enlarged to provide supplemental fresh air and cooling at the shops and classrooms. And a new exhaust hood with continuous LED lighting was installed above the existing burning tables.

The new interior storefront at the first floor offices showcases the union’s craft. Steel bar stock components frame a series of laser cut aluminum panels, obscure tempered glazing lites and pivot doors, and over 200 pieces of stacked glass. The new video wall can be used for educational and informational purposes.

The result showcases Local 580’s work and serves to enlighten prospective students about the types of projects the union installs.

Year: 2002-2003

Firm: Daniel Goldner Architects

Role: Project Architect

Two existing buildings, a medical supply warehouse and an auto body repair shop, were transformed into new home for Union Local 580: The New York City Ornamental Ironworkers.

This project is a living example of the union’s craft. The main façade is clad with matte stainless steel panels and a 27-foot high stainless steel mesh curtain. The interior incorporates brass, steel, aluminum, and copper in 13 different finishes.

The cellar and second floor are utilized for classrooms and instruction. The first floor incorporates private offices, a large, double-height space for stair and curtainwall instructional mockups, and includes rows of burning tables and welding booths. 

The result is a building that showcases Local 580’s work and serves to enlighten prospective students about the types of projects the union installs.

Awards: 2004 AIA New York Chapter Honor Award Winner

Photo Credits: Wade Martzal

Year: 2010-2011

Firm: A joint venture with Boro Architects

On New Year’s Eve 2009, a taxi jumped the curb and ran into the two-story building at 501 West 42nd Street—the headquarters for Union Local 580: The New York City Ornamental Ironworkers. After temporary repairs were made, the union began searching for an architect to "do the drawings" and "file the permits." 

Local 580 primarily installs storefronts, curtain walls, metal panels, and stairs. Before submitting a proposal, we sat down with the union leadership and discussed additional opportunities to display their work. In addition to redesigning the façade, Local 580 agreed to renovate their lobby and install a new ornamental stair.

The resulting 800-square-foot renovation establishes a new identity for the Ornamental Ironworkers Union. The project showcases their craft and provides a more recognizable presence in an increasingly pedestrian neighborhood.

Photo Credits: Wade Martzal

Year: 2016-2017

Firm: Fiedler Marciano Architecture

Role: Construction Administration

COUNTS architects assisted Fiedler Marciano Architecture during the construction administration phase for a new two-bedroom apartment. Responsibilities included site meetings, submittal reviews, production of supplemental drawings and sketches, and construction directives.

Photo Credits: Matthew Williams

Private Residence, New York, NY

Year: 2006-2007

Firm: Gluckman Mayner Architects (now Gluckman Tang Architects)

Role: Project Architect

A project combining two private apartments in the landmark Pierre Hotel.

Responsibilities include site meetings, submittal reviews, production of supplemental drawings and sketches, and construction directives.

Photo Credits:  N/A

Year: 2011-2012

Firm: Boro Architects

Role: Construction Document Preparation & Construction Administration

This narrow townhouse in Park Slope, Brooklyn, was in decrepit shape when the owners purchased it. The existing roof framing, floor framing, and all building infrastructure were replaced.  

After a complete gut-renovation and rear addition, this residence is now a spacious, light-filled home for the owners and their children.

COUNTS architects drew, detailed, and coordinated the drawing set used for construction and assisted Boro Architects during the construction administration phase.

Photo Credits: N/A

Year: 2011-2012

Firm: DXA Studio

Role: Construction Document Preparation

A landmarked, turn of the century manufacturing building in TriBeCa was transformed into twelve condominium units ranging from 2,200 to 4,300 square feet.

COUNTS architects assisted DXA Studio with drawing and assembling the NYC Department of Buildings permit set, the NYC Landmarks Preservation Commission review package, and the drawings and details issued for construction.

Unanimous approval was received from the Landmarks Preservation Commission to restore the existing seven-story envelope of brick, terra cotta ornament, and cast iron framing. And a new 2,500 square foot glass and steel penthouse was added on the roof.

The project features interiors designed by Steven Harris

Photo Credits: Interior Photography by Scott Frances/OTTO; Exterior Photography by Ari Burling

Year: 2011

Firm: Fiedler Marciano Architecture

Role: Construction Document Preparation

The design of this loft space in San Francisco takes inspirational cues from the modern industrial vernacular epitomized in Pierre Chareau’s Parisian masterwork, La Maison de Verre.

COUNTS architects assisted Fiedler Marciano in drawing and detailing the “truss” stair that connected each floor. The stair is comprised of blackened tubular steel and laminated glazing. It winds through the project and terminates at a roof deck wrapped in perforated aluminum planks that frames the city skyline.

Photo Credits: Bruce Damonte

Year: 2007-2010

Firm: Gluckman Mayner Architects (now Gluckman Tang Architects)

Role: Project Architect

Situated along the top of a meadow of protected oaks in the hills above Sonoma, this 5,800-square-foot residence overlooks the owners' vineyard and provides panoramic views of the bay to the south.

The project consists of three separate single-story pavilions, interconnected by a series of terraces that descend toward a lap pool and terrace with views to the valley beyond. Monolithic board-formed concrete walls and Alaskan yellow cedar trellises provide protection from the summer sun. A rain-screen of cement board cladding on the exterior allows the house to blend with the surrounding arid landscape. A large skylight aligned with the main house's central axis allows abundant natural light into the living area, while floor-to-ceiling glazing creates uninhibited views.

Photo Credits: Exterior Photography by Bruce Damonte; Interior Photography by Mathew Millman

Year: 2016-2018

Firm: Studio Cicetti Architect (Architect of Record)

Role: Project Manager

A new two-bedroom apartment in the Ritz Tower.

COUNTS architects drew, detailed, and coordinated the drawing sets submitted to the Ritz Tower and city agencies for review and is also administering the construction phase of the project.

Photo Credits: N/A

Year: 2015-2017

Firm: Studio Cicetti Architect

Role: Project Manager

A two-phase commercial office renovation.

COUNTS architects drew, detailed, and coordinated the drawings submitted to city agencies for review and is assisting Studio Cicetti during the construction administration phase.

Photo Credits: N/A

Schematic design for a contemporary addition to a Colonial style farm house near Princeton, NJ.

Big Clay #4

Year: 2014-2015

Firm: Studio Cicetti Architect

Role: Project Manager

Temporarily installed on the Plaza of the Seagram’s Building for auction, this sculpture by artist Urs Fischer required a raised concrete platform clad in stone to match the existing granite of the surrounding pavers.

COUNTS architects drew, detailed, and coordinated the drawings used for construction and assisted Studio Cicetti during the construction administration and installation phases.

Photo Credits: N/A

Santa Fe Depot

Year: 2006

Firm: Gluckman Mayner Architects (now Gluckman Tang Architects)

Role: Project Architect

Located in the arcade of the historic Baggage Building of the Santa Fe Depot, these site-specific sculptures by artist Richard Sera were permanently installed in 2006.

The six steel cubes weigh 50,000 pounds each. They were forged in Germany and shipped from Belgium by freighter.

Photo Credits: Interior photograph by Lorenz Kienzle

Year: 1999-2001

Firm: Tanner Leddy Maytum Stacy (now Leddy Maytum Stacy)

Role: Project Architect

Located in the Presidio of San Francisco, Building 38 was erected in 1940 using funds from the Works Progress Administration and served as a barracks for enlisted men in the U.S. Army. After the base was decommissioned in 1994, the 66,000-square foot Mediterranean style building lay vacant.

Building 38 was reimagined as not-for-profit office space for multiple tenants. TLMS worked with a local developer, the public-private Presidio Trust, and the National Park Service to file Historic Preservation Certification Applications and rehabilitate the building.

Photo Credits: N/A

Year: 1999-2001

Firm: Tanner Leddy Maytum Stacy (now Leddy Maytum Stacy)

Role: Designer

The Baker & Hamilton Building, constructed in 1905, was renovated to accommodate over 200,000 square feet of multi-media office workspace. The renovation preserved and repaired the building's unique historic features including the original entry on Seventh Street, the signature rooftop signage, and large interior lightwell.

The improvements, including a Townsend Street entrance, new elevator/stair core, and new building systems, are clearly expressed and contrast with the historic elements. The resulting mix of historic and modern conveniences combines the best of old and new.

Photo Credit: N/A

The 85-foot-deep site is bounded by two distinct neighborhoods: the area South of Market Street (SoMa) and the Financial District. Second Street connects these expanding districts to the Bay Bridge. The area has become an urban corridor of mid and high-rise buildings.

The constrained site offers limited opportunity for formal gestures. Instead, the design approach integrates structure with skin.

The building's structure is composed of concrete slabs with metal decks and a steel frame. For lateral stability, concentric steel braces wrap the building's perimeter.

The first three levels are clad with a clay tile rainscreen system and aluminum louvers. These form the base of the tower. The red tile responds to the scale and material of the adjacent masonry buildings. The punched openings provide human scale at the street level and reveal the brace frames beyond.

At the upper levels, a simple metal and glass curtainwall composition responds to the modern office towers of the Financial District. The street elevations connect the neighborhood's older masonry buildings with downtown using a modern aesthetic and simple materials. The tower is a contemporary interpretation of the traditional tripartite high-rise.

The owner of a 25-foot-wide by 85-foot-deep site sought a design for a new six-story office building. By code, the extremely narrow lot required two egress stairs and an elevator. Both stairs needed to exit onto Howard Street and, because the lot was in the downtown commercial zone, the planning department required an accessible public space at the entrance.

The circulation and service elements were grouped on one side of the building. This core was delineated with a blue mosaic tile. The remainder of the floor plate was dedicated for a public gallery at the ground floor and office space on the upper levels.

The building is a simple box comprised of positive and negative space. At night, the programmatic volumes glow.

Inspiration was derived from the sculptures of Donald Judd—particularly his studies of space and color. Three elements were articulated to incorporate natural light in section: a sleeve, a sock and a strap:

The sleeve is a light court at the back of the building.

The sock is an L-shaped light court at the center of the building.

The strap forms the building's front elevation.