Vilcek Foundation

This extensive renovation transforms a landmark five-story structure into the new home that supports the Vilcek Foundation’s mission to “raise awareness of immigrant contributions in America and foster appreciation of the arts and sciences.”

Vilcek entry
The new East 70th Street entrance features bronze framed glass doors with bronze grilles that flank a central marble panel.

The exterior renovation unites the original 1919 building and its mid-1960’s modifications into a cohesive composition distinguished by refined proportions, materials and details.

  • exploded axon of existing construction and intervention
  • exploded axon of existing construction and intervention

Within, a new stair and elevator maximize usable space within the building.

visitors at front desk near staircase
First floor gallery
man begins to descend staircase
visitors ascend staircase
woman rests on bench next to staircase
visitors reach top of staircase
The ribbed gallery ceiling re-proportions the narrow space and includes integrated lighting, as well as two skylights.

A high level of finish throughout the project further demonstrates the Foundation’s commitment to quality for visitors and staff. Details and materials enhance the sense of openness and light throughout the building: new bronze entry grilles and the gallery stair railing filter views, while colored plaster and wood-paneled walls exude warmth.

  • wooden door of conference room opened
  • wooden wall perforated with repeating slits
men work at desks in office space
lounge area in front of bookcase
On the office floors, a central common area is washed in daylight from the existing niche on the east wall.
  • Woman descending fire stair with teal paint accent wall
  • detail of ornamental stair
person entering the illuminated Vilcek Foundation at dusk view of the building through the rear curtain wall displays a group of people at a gallery show and people working above
Front and rear facades.
view of the Vilcek Foundation from Madison Ave

Read more in Adam Yarinsky’s “A Composite Landmark.”