NYC Curtain Wall: Richard Roth Jr.’s 77 Water Street

This blog post examines the story behind 77 Water Street in Lower Manhattan. It is a 26‑story office tower designed by Richard Roth Jr. of Emery Roth & Sons in collaboration with unconventional developer Mel Kaufman.

The post explores how an unlikely professional partnership produced one of New York’s most playful post‑war commercial buildings. It discusses the survival and decline of its signature features — including a rooftop Sopwith Camel biplane and a lush open‑air plaza.

The building’s current conversion to 650 rental apartments highlights trends in adaptive reuse, public art, and the stewardship of urban character.

How whimsy met modernism at 77 Water Street

At first glance, 77 Water Street presented a typical mid‑century glass-and-steel façade. It looked like a minimalist office tower common to Emery Roth & Sons.

Mel Kaufman, the developer, wanted more than another corporate box. His collaboration with Richard Roth Jr. produced an architecture that contrasted the aloof tower with a warm, human‑scaled public realm.

The plaza and rooftop elements were not just decorative. They were central to Kaufman’s vision to “make the building disappear.”

By breaking down the scale and activating the ground plane, Kaufman aimed to draw people in. He wanted the space to welcome more than just office tenants.

Playful features that defined the project

The most famous of Kaufman’s gestures was the life‑size Sopwith Camel biplane placed on the roof. This image still captures the imagination.

It even caused a brief run‑in with regulators when inspectors thought the rooftop installation was an active runway. At street level, Kaufman replaced the standard marble lobby with an open plaza filled with nearly 60 trees, artificial streams, footbridges, and a nostalgic candy store.

From playful public art to adaptive reuse

Over time, many of Kaufman’s whimsical elements were removed or deteriorated. The rooftop plane and candy store were taken down due to neglect and safety concerns.

The plaza’s lushness also dwindled. Now, the building is being converted into 650 rental apartments, a major example of adaptive reuse in Lower Manhattan.

Adaptive reuse raises questions about what to preserve and how to honor a building’s cultural memory. Robyn Roth‑Moise, daughter of Richard Roth Jr., voiced disappointment at the disappearance of the quirky elements that once brought joy and character to the site.

Lessons for architects, developers and civic stewards

As a practitioner with three decades in architecture and engineering, I see several clear takeaways from the Roth‑Kaufman story:

The partnership between Roth Jr. and Kaufman produced other memorable projects. These include 747 Third Avenue, 200 Water Street, and 17 State Street.

Each project was marked by bold, unconventional touches. Roth Jr. later reflected that Kaufman was his favorite client.

Kaufman was larger than life, creative, and willing to take risks. He wanted to make buildings that people would remember.

 
Here is the source article for this story: Behind the Curtain Wall w/ NYC Architect Richard Roth Jr: 77 Water Street