‘When we learned Peter Marino was the architect, we were immediately interested. We came to realise you really need the flexibility and space that two locations provides,’ says gallery co-founder David Maupin, who closed the Christie Street outpost earlier this year. ‘For most of the gallery’s history, we have had two spaces in New York, in Chelsea and the Lower East Side. ‘As architect of the entire building, our approach to the gallery spaces relates to our overall design approach – to create a series of unique, variable and flexible gallery spaces – which provided a substantial expansion from Lehmann Maupin’s Christie Street location.’ Offset aluminium and glass panels on the façade give the building an individual identity, while unique glass curtainwalls and 6.7m high corners without mullions facilitate an immediacy to the High Line located adjacent.įor Lehmann Maupin, Marino devised three dynamic floors, which include column-free exhibition spaces on the ground level, private viewing areas and office space on the second floor, and a black box gallery space on the cellar level for films and other special projects.Įach gallery provides unique views and opportunities for artists whose exhibitions vary wildly in scale and medium,’ says Marino. In contrast to the many architectural statements that already punctuate the neighbourhood, Marino’s design for the 11 storey mid-rise building is comparatively understated. Designed by Peter Marino, The Getty is comprised of six apartments – five full floor units and a single duplex penthouse with a roof terrace and private pool – and houses the Hill Art Foundation and the latest outpost of the Lehmann Maupin art gallery on the first four floors With almost every inch of New York’s West Chelsea neighbourhood now claimed, an exciting new residential building has sprouted up where the iconic Getty gas station once stood.
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