It does. And, most importantly, it does so at a time when hospitality and shopping are changing shape, especially in New York. With half a dozen gourmet restaurants; six fast casual options; four bars; and candy, flower, and specialty produce markets spread across 53,000 square feet, the Tin Building represents something entirely new for the metropolis — and perhaps for the United States, too.
This is not Vongerichten’s first contact with innovation. He is, after all, the chef who gave Thai cuisine a French twist with Vong, fused communal table style with haute cuisine at The Mercer Kitchen, and pushed the boundaries of plant-based menus with the ABCV. avant-garde.
But the Tin Building is the chef’s boldest project to date. The hybrid business occupies the former home of the bustling and beloved Fulton Fish Market, which was built in 1907 by Berlin Construction Co. Boasting decorative sheet metal pilasters and a corrugated iron facade, it was one of the first places Vongerichten came to see when he arrived in New York in 1986. “When I arrive in a city I don’t know,” he says, “I go to the market to check my bearings. And the fish market was already an iconic space, with all those cast iron columns.
The southern tip of Manhattan was once a Wild West, he says, with a bar or two that emptied just as the sun rose over the Brooklyn Bridge and chefs arrived to select the catch of the day. The fish market has become a neighborhood staple, and when it fire in 1995, Wank Adams Slavin Associates made a faithful reconstruction. A decade later, as lower Manhattan shifted to mixed-use spaces after 9/11 to keep Wall Streeters and other local workers from moving to the suburbs, the Fulton Fish Market has eventually swam upstream from the Bronx. Over the past 10 years, developer Howard Hughes Corporation has spent $789 million to revitalize the seaport area, bringing in Vongerichten to redesign the beloved Fulton Fish Market building in 2016. architects Store signed, embarking on a meticulous renovation of the old fish market to bring it up to standard. They lifted the sheet metal structure, moved it under a freeway underpass, and repositioned it about six feet up and 32 feet to the east. The mise en place was ready for its leader.
The fish, fittingly, is a guest’s first impression as they approach the space – large shoals of them, glazed, their flesh complemented by the veins of the Statuarietto marble counter. Looking up, exposed ducts form channels as an art installation by Michael Murphy – of fish, what else? – swims in the air. A vegetable market beckons to the left, while a flower stall blooms to the right. The traffic path is both streamlined and easy to navigate, traversing dosa stations and bakeries, raw bars, and a Willy Wonka-worthy candy fantasia called The Spoiled Parrot.
“While the central hub is still anchored by 1920s and 1930s masonry, brass and tile and guided by our Roman and Williams original drawing Oscar and World light fixtures,” says Standefer, “restaurants and dining rooms are also separate. The Seeds and Weeds vegan restaurant is ready for the new era with avocado green banquettes, curved planks of light wood and plenty of potted plant growths. After perusing the dozens of vinegars and teas at the Mercantile East Asian market, framed in red lacquer, curious diners can push through a pair of plush emerald curtains to find a golden peacock marking the way to the velvet maximalism of the Chinese-inspired dining destination. , House of the Red Pearl. Or on a sunny day, when the garage doors on the ground floor open, dine on traditional French dishes al fresco. “We introduce each of these spaces with recurring portals marked by rounded arches covered in green tiles that serve to punctuate the building and serve as landmarks,” says Standefer. “We believe there is unity in variety, and these varied interventions add texture and discovery to the visitor’s immersive experience. It’s like getting acquainted with a new city by jumping from one destination to another.