The transformation of the mythical Tiffany & Co. building, on 5th Avenue in Manhattan, popularized in the romantic comedy film "Breakfast at Tiffany's" - starring Audrey Hepburn as Holly Golightly in 1961 and directed by Blake Edwards, based on an adaptation of the novel of the same name by Truman Capote from 1958, is now complete.

The redesign with improved infrastructure and three-story addition by OMA Partner Shohei Shigematsu and Associate Jake Forster, and interiors by Peter Marino, reimagines the historic building as a diverse retail and cultural institution.

On Friday, April 28, Tiffany & Co. opened the doors to its newly transformed flagship on 57th Street and Fifth Avenue. The project marks the first holistic renovation of the store since its opening in 1940. Now known as “The Landmark,” invites visitors to discover the history and range of Tiffany & Co. goods in a redefined flagship environment of displays and new experiences.
OMA’s collaboration with Tiffany & Co. began in 2018 with programming and visioning for the multi-story building. The early masterplan informed the new re-organization of the existing building’s core to create a clear elevator lobby and improved flow, and a new three-story volume atop the limestone building. The addition houses a dedicated gallery/exhibition, event, and clienteling space to accommodate the brand’s diverse range of projects and programs.

“The Landmark is a ten-story building dedicated entirely to a single brand, which challenged us to rethink the experience of Tiffany & Co.’s wide range of precious jewelry as well as its diverse programs. The first floor is a beloved, timeless destination and the iconic cornerstone of New York’s Fifth Avenue, and we provided an improved infrastructure to extend that identity and cosmopolitan energy up the building. Anchoring the rich vertical experience is a new gathering space that mirrors the dynamism of the ground level, recessed from the building edge to offer a wraparound terrace. An additional volume floats above the event space, wrapped in a glass “curtain” that adds a touch of softness to the harsh curtain walls of neighboring towers. The result is a translucent vitrine to signal new flagship activities—a contemporary bookend to the historic building and symbolic launch of a renewed brand.”
Shohei Shigematsu.

The first two floors of the addition are stacked into a clear box for exhibition and event. The double-height, column-free space opens to a wide terrace where one can look down Fifth Avenue to Central Park. A straight glass façade enclosure offers panoramic views of the surrounding neighborhood.
 
In contrast, the upper floor is encased by a slumped glass façade. The innovative façade system is a new development in glass manufacturing combining the distinct advantages of both curved and flat glass. The resulting façade simultaneously provides high transparency and privacy; structural integrity and softness; urban presence and human-scale texture.
 
The resulting rooftop volume extends the vertical continuity of the existing structure in form, establishing a gentle transition from the historic building to an element of newness at the top. It resolves the ideas of practicality and preciousness formally and programmatically to generate a renewed icon for the Landmark.

“The reopening of the iconic Fifth Avenue Landmark is a major milestone for our House. Symbolic of a new era, our reimagined flagship store is not only a cultural hub at the epicenter of New York City, it also sets a new bar for luxury retail on a global scale.”
Anthony Ledru, Chief Executive Officer, Tiffany & Co.


The Landmark core and shell renovation and new, top-volume addition are designed by OMA New York, led by Partner Shohei Shigematsu and Associate Jake Forster.


Tiffany & Co. Landmark Renovation and New Addition by OMA. Photograph by floto+warner.


Tiffany & Co. Landmark Renovation and New Addition by OMA. Photograph by floto+warner.

Project description by OMA

Tiffany & Co. is a New York icon and retail enterprise providing luxury goods ranging from stationery and everyday objects to fine jewelry. A history of innovation and devotion to timeless beauty and pragmatism underlines how the specialty design house shaped and re-shaped the local and global retail landscape.

Tiffany’s flagship occupied 727 Fifth Avenue for over 80 years, establishing itself as a quintessential New York fixture. Ironically, one’s experience or association with the flagship is often limited to the building’s most famed, film-location ground floor. The renovation reimagines the flagship with a spectrum of interventions, from reprogramming to preservation and new spatial expressions.

727 Fifth Avenue presented 10 stories entirely dedicated to retail, at a scale that is not dissimilar to the typical urban department store. While a department store is inherently diverse, with a wide variety of brands in shop-in-shops, here, a single brand occupies the multi-story building. How could the renovation break the potential monotony of shopping all Tiffany products?

How can the potential of scale be maximized to provide a diverse experience? Can the visitor be fully engaged through the entire building? How should a heritage brand in a historic building communicate a cohesive narrative? Can the center of activity gravity be shifted or distributed vertically?


Tiffany & Co. Landmark Renovation and New Addition by OMA. Photograph by floto+warner.

The transformation begins with the reorganization and rezoning of retail programs for a more fluid circulation through the ground level and up all ten floors. A more efficient infrastructure is established by moving and consolidating the core in alignment with the main revolving door entry and adding an elevator lobby that clarifies access to upper levels. The addition of a dedicated exhibition, event, and clientele space on the roof of the original building is conceived as a new dimension to Tiffany’s retail ecosystem—a space to broadcast an evolving brand identity and host new initiatives.

The architecture is generated by an attitude towards luxury that’s persisted through Tiffany’s evolution—a balance of aesthetic and practical sensibilities as a means of innovation, here, we resolve both characteristics programmatically and formally. A clear box stacks two floors, exhibition and event, within, making a unified form with the potential for two programs to work together or independently. The straight, vision glass façade offers panoramic views out and sets back from the edge of the existing building envelope to make a wraparound terrace overlooking the city and Central Park.


Tiffany & Co. Landmark Renovation and New Addition by OMA. Photograph by floto+warner.

Above, the client floor extends out and over the terrace and is encased by a slumped glass façade. Unlike traditional curved glass which typically consists of two pieces of glass that are offset shapes of one another, the façade combines flat and slumped glass to leverage the two different qualities and distinct advantages. The slumped glass is structurally favorable and requires less vertical support while creating a mirrored effect that provides privacy from the exterior. The flat low-e glass optimizes energy performance while minimizing reflections from the interior to preserve transparency for views out onto the city.

Resembling a soft curtain, the façade is an antidote to the severe glass buildings that tower over the Landmark that contributes a different texture to the sober form of the existing limestone building and glass box addition. The new jewelry box (or “blue box” when lit at night in Tiffany Blue) floating above the original structure is a symbolic start to a renewed identity of the flagship and the brand.

More information

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Architects
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OMA. New York / led by Partner Shohei Shigematsu and Associate Jake Forster.
Project Architect.- Caroline Corbett, Ninoslav Krgovic.
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Project team
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Jackie Woon Bae, Timothy Cheng, Marie-Claude Fares, Cameron Fullmer, Henrik Gjerstad, Patricio Fernandez Ivanschitz, Mark Jongman-Sereno, Avo Keuyalian, Kevin Larson, Clement Mathieu, Richard Nelson-Chow, Leone Di Robilant, Tommaso Bernabo Silorata, Anahita Tabrizi, Shary Tawil, Adam Vosburgh, Ge Zhou.
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Collaborators
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Interior Architect (GF–F10).- Peter Marino.
Executive Architect.- Callison RTKL.
Structure.- WSP.
MEP.- WSP.
Façade Consultant.- Heintges Consulting Architects & Engineers P.C.
Façade Manufacturer.- Seele (glass by Sunglass).
Lighting.- Tillotson.
AV.- Theater Projects.
Acoustics.- Cerami Associates / Henderson Engineers.
Graphics, Signage, Wayfinding.- 2x4.
Vertical Transportation.- Edgett Williams Consulting Group.
IT/Data/Security.- Tiffany Co (In-house).
Sustainability.- Paladino & Co.
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Client
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Tiffany& Co.
Client Rep/Project Managers/Costing.- MACE Group.
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General contractor
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Structuretone.
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Area
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2,150m².
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Dates
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Commission.- 2018
Schematic design.- 2019.
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Location
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727 5th Avenue New York, NY 10022, USA EE. UU.
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Photography
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Office for Metropolitan Architecture (OMA) is a leading international partnership practicing architecture, urbanism, and cultural analysis. OMA's buildings and masterplans around the world insist on intelligent forms while inventing new possibilities for content and everyday use. OMA is led by ten partners – Rem Koolhaas, Ellen van Loon, Reinier de Graaf, Shohei Shigematsu, Iyad Alsaka, David Gianotten, Chris van Duijn, Ippolito Pestellini Laparelli, Jason Long and Michael Kokora – and maintains offices in Rotterdam, New York, Beijing, Hong Kong, Doha and Dubai.

Responsible for OMA’s operations in America, OMA New York was established in 2001 and has since overseen the successful completion of several buildings across the country including Milstein Hall at Cornell University (2011); the Wyly Theater in Dallas (2009); the Seattle Central Library (2004); the IIT Campus Center in Chicago (2003); and Prada’s Epicenter in New York (2001). The office is currently overseeing the construction of three cultural projects, including the Musée National des Beaux-arts du Québec and the Faena Arts District in Miami Beach – both scheduled for completion in 2016 – as well as a studio expansion for artist Cai Guo Qiang in New York. The New York office has most recently been commissioned to design a number of residential towers in San Francisco, New York, and Miami, as well as two projects in Los Angeles; the Plaza at Santa Monica, a mixed use complex in Los Angeles, and the Wilshire Boulevard Temple.

OMA New York’s ongoing engagements with urban conditions around the world include a new civic center in Bogota, Colombia; a post-Hurricane Sandy, urban water strategy for New Jersey; the 11th Street Bridge Park and RFK Stadium-Armory Campus Masterplan in Washington, DC; and a food hub in West Louisville, Kentucky.

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Shohei Shigematsu born in Fukuoka Prefecture, Japan in 1973. In 1996 graduated from the Department of Architecture at Kyushu University. Studying at the Berlage Institute in Amsterdam. He became an associate since 2004.joined OMA in 1998 and became a partner in 2008.

He has led the office in New York since 2006. Sho's designs for cultural venues include the Quebec National Beaux Arts Museum and the Faena Arts Center in Miami Beach, as well as direct collaborations with artists, including Cai Guo Qiang, Marina Abramovic and Kanye West.

Sho is currently designing a number of luxury, high rise towers in San Francisco, New York, and Miami, as well as a mixed-use complex in Santa Monica. His engagement with urban conditions around the world include a new civic center in Bogota, Colombia; a post-Hurricane Sandy, urban water strategy for New Jersey; and a food hub in Louisville, Kentucky.

He is a design critic at the Harvard Graduate School of Design, where he is conducting a research studio entitled Alimentary Design, investigating the intersection of food, architecture and urbanism.
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Office for Metropolitan Architecture (OMA) is an international practice operating within the traditional boundaries of architecture and urbanism. AMO, a research and design studio, applies architectural thinking to domains beyond. OMA is led by eight partners – Rem Koolhaas, Reinier de Graaf, Ellen van Loon, Shohei Shigematsu, Iyad Alsaka, Chris van Duijn, Jason Long, and Managing Partner-Architect David Gianotten – and maintains offices in Rotterdam, New York, Hong Kong, Doha, and Australia. OMA-designed buildings currently under construction are the renovation of Kaufhaus des Westens (KaDeWe) in Berlin, The Factory in Manchester, Hangzhou Prism, the CMG Times Center in Shenzhen and the Simone Veil Bridge in Bordeaux.

OMA’s completed projects include Taipei Performing Arts Centre (2022), Audrey Irmas Pavilion in Los Angeles (2020), Norra Tornen in Stockholm (2020), Axel Springer Campus in Berlin (2020), MEETT Toulouse Exhibition and Convention Centre (2020), Galleria in Gwanggyo (2020), WA Museum Boola Bardip (2020), nhow RAI Hotel in Amsterdam (2020), a new building for Brighton College (2020), and Potato Head Studios in Bali (2020). Earlier buildings include Fondazione Prada in Milan (2018), Garage Museum of Contemporary Art in Moscow (2015), De Rotterdam (2013), CCTV Headquarters in Beijing (2012), Casa da Música in Porto (2005), and the Seattle Central Library (2004).

AMO often works in parallel with OMA's clients to fertilize architecture with intelligence from this array of disciplines. This is the case with Prada: AMO's research into identity, in-store technology, and new possibilities of content-production in fashion helped generate OMA's architectural designs for new Prada epicenter stores in New York and Los Angeles. In 2004, AMO was commissioned by the European Union to study its visual communication, and designed a colored "barcode" flag, combining the flags of all member states, which was used during the Austrian presidency of the EU. AMO has worked with Universal Studios, Amsterdam's Schiphol airport, Heineken, Ikea, Condé Nast, Harvard University and the Hermitage. It has produced Countryside: The Future, a research exhibited at Solomon R. Guggenheim Museum in New York; exhibitions at the Venice Architecture Biennale, including Public Works (2012), Cronocaos (2010), and The Gulf (2006); and for Fondazione Prada, including When Attitudes Become Form (2012) and Serial and Portable Classics (2015). AMO, with Harvard University, was responsible for the research and curation of the 14th Venice Architecture Biennale and its publication Elements. Other notable projects are Roadmap 2050, a plan for a Europe-wide renewable energy grid; Project Japan, a 720-page book on the Metabolism architecture movement (Taschen, 2010); and the educational program of Strelka Institute in Moscow.

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Published on: May 19, 2023
Cite: "Tiffany & Co. Landmark Renovation and New Addition by OMA. Completion and Opening" METALOCUS. Accessed
<http://www.metalocus.es/en/news/tiffany-co-landmark-renovation-and-new-addition-oma-completion-and-opening> ISSN 1139-6415
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