By LANDMARK WEST!
The Doric order is recognized for its plain solidity and strength.
The Ionic order is recognized for its graceful beauty.
The Corinthian order is recognized for its detail and slenderness.
The Mermaid order? I’ll have the beer-battered fish tacos and the crispy brussel sprouts.
I jest–and so does the building at 331 Columbus Avenue, the new home of Mermaid Inn Upper West Side, which lost its longtime home at 570 Amsterdam Avenue–that site is slated for an 18-story luxury residential project. While the loss of affordable housing on Amsterdam Avenue is no laughing matter, the new storefront on Columbus Avenue, stretching the full 100’ of Avenue frontage, is. Its facade was designed by Upper West Side resident Huntley Gill of Guardia Architects.
A preservation architect, Gill’s first project out of school was working with Harley Baldwin from his studio in the Dakota building. The assignment? Adaptively reusing the space under the Queensboro Bridge. What became known as the Bridgemarket, defined by its overhead Guastavino tile vaults, is currently occupied by a Trader Joe’s supermarket.
Over the years, he became really interested in storefronts and the possibilities of what they can do. While that example was on the Upper East Side, in many ways, Columbus Avenue was Gill’s proving ground. “I got really good at facades, in part from participating in LANDMARK WEST’s C of A Committee reviews and seeing so many bad proposals…it forces you to look,” but also through his connections. Working with Bob Quinlan, he was involved in rehabilitating the Endicott. Over the years, this specialty became a hallmark of his firm.
At the Mermaid Inn, Huntley’s impact was significant but slim–in fact, just the thickness of the facade. Architect David Sepúleva fit out the interior, detailed the kitchen, and handled filings. Gill handled the storefront and Landmarks Preservation Commission aspects, which, in this instance, were unique. “The facade is so wide–where do you put the kitchen?” Happily for him, that was Sepúleva’s problem, and when you visit, you can find out!
In essence, Gill’s specialty is the things that a developer or landlord won’t do–the retail face. And this one had long been vacant. Prior to Mermaid’s revival, the frontage held a Chase bank–a very wide (6-bay wide) Chase bank. While banks may be convenient, one so large in an era of automated banking is less required. It also promotes a less-active sidewalk and streetscape, which is why the Community Board sought to restrict their dimensions. Ironically, that resolution may have led Chase to stay longer at this location due to its grandfathered status.
Ultimately, they abdicated, and that was a good thing for the avenue. Gill explains:
Columbus is strong. It is a good mix of service, retail, and fashion. Other big strips, like Madison Avenue and West Broadway, don’t have that mix of use that makes them useful places to be. We survived Covid with a much lower loss of tenants–largely because the owners are the landlords and have been since the Renaissance; they’ve seen it all. They adjust, and they don’t panic. When the pandemic hit, they did what they needed to do to keep their tenants. With very few exceptions, everyone worked together, so we got through it together. Rents are down from their peak, but landlords are still healthy and not overly financed. It is important to keep the mix on the avenue.
Why is any of this his business? This is because (aside from being the Captain of the John J. Harvey Fireboat), one of his other hats since 2020 has been president of the Columbus Avenue BID. The new Mermaid Inn dovetails with his vision for a lively mix of uses throughout the day.
This kismet was not without issue. It is always important to “stay in one’s lane” when working with another architect. That said, Gill still had to accommodate the mechanical engineer, the garage door installers, community interest (yes, LANDMARK WEST! (read our testimony)), and the client. A big shift in this location from its former home, “Mermaid 88,” is the change in color. Owner Danny Abrams wanted white. The Upper West Side/Central Park West Historic District status forced the owner’s corporate vision and designer to adapt, but admittedly, for a stronger end result. The community and LPC preferred black–which was a good thing because it allowed all of the mullions and muntins to recede. Another adaptation was the width. Gill hoped to hold the openings wide for the pilasters, but “there are always issues when you open things up and find out what’s going on.”
The Landmarks Commission unanimously approved the operable doors, granting Gill his vision for the idea that mealtime is theater. Thus, he wanted to open up to the street and have the community come in. And come in, they do. With a grin, he admits reservations are hard to come by. This difficulty is driven by their previously established Upper West Side base, but also a whole new clientele: “Move ten blocks south, and one east, and it’s all very different; we see an established clientele. Some fewer kids, but all are welcome,” Abrams explains.
In regards to the design that Gill “sherpa’d through Landmarks” he adds, “The narrower mullions make a huge difference—we changed storefront company and design, and it is emblematic of the restaurant itself—staff and patrons have the space they need, everything just meshes—everything just works.”
So, back to those mermaids on the pilasters…
“You ought to have it fit in, but giggle that it’s new. Have fun with it without clashing with the historic purpose,” proving that landmarks may be more malleable than one envisions. For those mourning Chase, do not worry; the former ironwork, although not original, still lies beneath the new surface for future generations of preservationists to reconsider.
Huntley recognizes, “You have to combat the internet. There is no point to urban life without a lively retail environment.” To that end, he is working with Nicole Paynter of the BID to focus on keeping the street life activated and verdant. More to come in 2025!