The Garden Above

The residence The plans The setting Diligence Inquire

Concept campaign · Manhattan, New York

The residence, in sequence

How The Garden Above is seen.

The top two floors of the limestone and bronze building seen from a neighboring rooftop, the twenty-second floor set back twenty feet at its east end with planted terraces on both levels — The setback is the building. It is what makes two gardens possible instead of a balcony.

The south terrace from above, reading as three outdoor rooms: a dining terrace, a mown lawn panel with cut stripes, and a grove of multi-stem birch, with a planted border along the outer edge — Ninety feet of terrace, read as three rooms rather than one long strip. The lawn is real and it is mown.

Close detail of an integral limestone planter with an eighteen-inch wall, deep soil beneath bark mulch, a bronze channel drain in the bluestone paving, and a bronze irrigation bib — Soil depth, drainage, irrigation. The three questions a landscape consultant asks before any of the pretty ones.

The great room looking south at a forty-foot wall of full-height glazing onto the terrace, pale limestone floors, plaster walls, and the city beyond — Forty feet of glass and an eleven-foot-six ceiling. The room is arranged so the garden is the view from every seat.

The inner corner of the great room with a bronze-framed fireplace set into plaster, oak shelving, and leather chairs drawn up to the fire — The other end of the same room, for the eight months when the doors stay shut.

Close detail of hand-troweled plaster meeting a dark patinated bronze window frame and a honed limestone floor at a flush threshold — Plaster, bronze, limestone. Every metal in the residence is bronze, and it is the same bronze throughout.

The kitchen against the building core with a marble island, full-height pale oak cabinetry, and daylight arriving through a glazed pantry wall — No exterior window, and not a dark room. The light is borrowed through the pantry from the dining room.

The butler’s pantry lined in pale oak with glassware and stacked plates, its far wall glazed into the dining room with the city visible beyond — The pantry is the reason the kitchen works. It carries the service and lets the light through.

Close detail of the marble island corner with a mitred edge showing three inches of thickness, veining running over the corner, and a bronze mixer tap — A mitred edge and veining that turns the corner. It costs more and it is visible from across the room.

The dining room with its glazed panels slid fully open onto the terrace, the interior limestone and exterior bluestone meeting flush, a table for ten outside — The panels slide away and the floor runs straight out. In summer the dining room is thirty feet longer than it is drawn.

The dining zone at the east end of the terrace, a teak table for ten enclosed by shoulder-height hornbeam hedging, warm light inside the glazing behind — Hedged to shoulder height on the outer side. You are outdoors and you are not on display.

The mown lawn panel photographed low along the terrace, birch grove beyond, backlit ornamental grasses along the outer planter and the city dropping away past the railing — Thirty-four feet of lawn, twenty-one stories up. It is the detail nobody believes until they stand on it.

The library at the west end lined on three walls in pale oak shelving, a glazed door open to the small west terrace, low western sun flooding the room — The one enclosed room in a residence made of glass, and the only one facing the sunset.

The small west terrace at sunset, two teak chairs facing the Hudson, ornamental grasses and a Japanese maple backlit, the river gold below — Twenty-four by twelve feet, off the library, facing the river. It exists for about forty minutes a day.

The bronze-clad private elevator opening directly into the entrance gallery, the axis running the full depth of the residence to the glazed south wall and the terrace planting beyond — The elevator opens into the residence, not a corridor, and the first thing you see is the garden.

The primary bedroom on the upper floor looking south and down onto the garden terrace one level below, the city dense beyond — A floor above the garden, looking down into it. The relationship only exists because the plate steps back.

The primary bathroom in book-matched pale marble with a freestanding stone tub before a tall slot of frosted glazing, oak vanity and bronze fittings — One stone, book-matched across the principal wall, and daylight without a sightline.

The dressing room lined floor to ceiling in pale oak with bronze hanging rails and a marble-topped island — Between the bedroom and the bath, which is the only place it belongs.

The upper terrace on the twenty-foot setback at first light, Japanese maples backlit above a planted border, gravel and bluestone underfoot, the city in morning haze east — The morning terrace, made by the setback. East-facing, and the only outdoor room that gets the sunrise.

A secondary bedroom facing south over the terrace planting with pale oak floors, plaster walls and an en-suite door ajar — Every bedroom in the residence faces south. Not one of them looks at the core.

The principal stair with cantilevered limestone treads and a single continuous plane of dark patinated bronze forming the balustrade — Limestone cantilevered off the wall, one unbroken plane of bronze beside it. The only sculpture in the place.

The building entrance at dusk: a rusticated limestone base, bronze canopy and glazed doors, the lit lobby beyond, with the service door and ventilation bay visible alongside — The working side of the building shown rather than hidden. Full service is a fact you can photograph.

The terrace under fresh snow, bare white birch, tan seed heads standing on the grasses, clipped hedging holding its line, the city half-erased by weather — January. The grasses are left standing on purpose, and they are the best thing on the terrace for four months.

The terrace in late spring under a bright sky, birch in fine new leaf, the lawn freshly cut and striped, hydrangea budding in the outer planter — A garden shown only in June is selling one quarter of a property. This is the same terrace in May.

Property marketing demonstration

This conceptual residence is not currently offered for sale or lease. It was created to demonstrate Park & Palm's property-marketing capabilities. All imagery is original, AI-generated concept imagery and does not depict an actual offered property. The price, dimensions, and specifications shown are illustrative and describe the concept rather than a surveyed or measured property. The residence has no address because it does not exist.

Park & Palm · Licensed Real Estate Broker · New York

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