Historic restoration: making it through the maze.

The renovation of a historic landmark in New York City presents a unique set of challenges that differ greatly from the renovation of a typical commercial space.

Factors that need to be considered range from the legal and financial ramifications to team building and maintaining a positive relationship with the surrounding community.

Our client, Instituto Cervantes, the cultural institution sponsored by the government of Spain, purchased Manhattan's historic Amster Yard in May of 1999 for $9 million as its new center in order to expand language classes and program offerings.

The goal was to create an inviting place for city residents to come, explore and enjoy all that the Spanish language and culture have to offer.

Instituto Cervantes pledged to comply with requirements established by New York City's Landmarks Preservation Act as well as those of the Landmarks Conservancy.

This entailed returning the landmark, low-rise building complex to its original elegance and charm with meticulous attention to detail.

Amster Yard has a long and interesting history in New York City. At the end of the 18th Century, the site served as a terminal for the Boston Stage Coach and was later converted into a series of residential homes in 1870. By the 1940s, it had become a decaying assortment of tenements.

In 1944, interior designer James Amster rescued the complex and reopened it in 1945 as his home and interior design shop. It was at that time that Mr. Amster created the site's most striking feature--a glorious, L-shaped, garden courtyard that eventually gave rise to the Amster Yard name.

It became a gathering place for artists and the surrounding community and was the site of many lavish parties. Following the passing of Mr. Amster in the 1980's, Amster Yard fell into a state of disrepair.

Immediately following the acquisition, Instituto Cervantes faced a number of formidable hurdles and sought our help to overcome the construction and legal issues. In October 1999, a design competition was held and the project was awarded to Carlos Jurado, a talented young architect from Adhoc MSL in Murcia, Spain.

As an international architect Mr. Jurado was unfamiliar with some of the challenges that were specific to projects in Manhattan.

Instituto retained New York architect, Victor Schwartz as well as owner's representative Thierry Noyelle and construction managers, Regele Builders to assist in the on-site execution of the design created by Mr. Jurado.

For a restoration project of this magnitude it is critical that everyone involved in the design and construction work cohesively and buy into the "team concept." Once assembled, LePatner & Associates prepared the seamless, integrated contractual agreements for all members of the design and construction team.

Securing the necessary New York City and Landmarks Commission authorizations was no easy task for the cultural institution. Our firm was also charged with an integral role in advising the Instituto on navigating the cumbersome approval process while presenting plans for each stage of construction and obtaining the required permits along the way.

Maintaining positive community relations became an important aspect of the renovation. This challenge needed to be addressed before the project could successfully be accomplished.

The Turtle Bay Association, the neighborhood organization that was originally founded by James Amster as the East 49th Street Association, was concerned that the renovations maintain the architectural integrity of the property.

Instituto Cervantes actively engaged the community association before construction commenced by presenting restoration proposals and incorporating board member recommendations into the site plan. Throughout the process there was a dialog between the community and cultural institution which ultimately nurtured an atmosphere of trust.

Complicating all these efforts, work was halted due to the September 11th tragedies. As a result, excavation of the state-of-the-art below ground conference facility required hand drilling of rock as controlled explosions were no longer an option. When construction resumed, workers faced one of the coldest winters and wettest springs, making it difficult to meet a tight construction schedule. As a result, close coordination of the construction team was imperative as the deadline loomed for the grand opening, when the Crown Prince of Spain would formally dedicate the facility.

The result of the two-year $12 million renovation is the melding of history and modern technology--the deft crafting of a landmark to the specific needs of a forward-thinking cultural institution.

The project comprises 2,500 square feet of usable interior space and an additional 5,500 square feet of garden/patio space. Amster Yard's buildings and architectural features stand meticulously true to their 1940s design.

The renovation reflects the subtle beauty of a bygone era. Designer James Amster's old workshop has been convened into an art gallery, while other buildings in the complex now serve as the home to a flexible space which can accommodate 10 to 15 classrooms, along with a 65,000 volume library, a wine cellar and tasting room, and executive offices. The restored land scaped garden breathes new life into the historic courtyard grounds, while a 132-seat state-of-the-art auditorium for lectures and cultural events has been carefully constructed beneath its surface.

The restoration of Amster Yard--a true urban oasis--to its original 1940s splendor and availability to the community at large is one of the most important developments in New York this year.

Although the challenges of restoring a landmark are far more complex than a build out of a modern office space, the rewards are far greater.

The Instituto is clearly entitled to hard earned congratulations for its commitment to a restoration that the entire City should be proud of.