By Wendy Goodman, Design Editor
For over two decades, Loring McAlpin’s life in his sixth-floor loft on Great Jones Street was defined by the singular quality of its light. With six expansive windows offering a panoramic view of the neighborhood, the space was a quintessential New York sanctuary. But in the ever-shifting topography of Manhattan, permanence is an illusion. When a new development rose directly adjacent to his property, the wall of concrete didn’t just block his view—it stifled the east light that had become the heartbeat of his home.
What could have been a moment of resignation became, for the artist, activist, and film producer, a catalyst for transformation. Instead of mourning the loss of the skyline, McAlpin looked upward. He possessed the top floor of his building, a space that had long been underutilized, and realized he had the rare opportunity to reclaim the light—and perhaps create something even more profound in the process.
A Decade of Architectural Evolution
The vision was ambitious: a complete top-floor renovation that would integrate skylights, maximize western exposure, and, most audaciously, install a private garden in the sky. In 2013, McAlpin enlisted the expertise of architect David Bers, a designer renowned for his ability to navigate the complex structural and aesthetic requirements of New York’s most storied lofts.
“It was a crazy duplex originally, one of those rambling lofts that defines New York,” Bers recalls. The history of the building was as layered as its architecture. The sixth and seventh floors had been fractured by a previous owner, resulting in a “scissor-like” configuration where parts of the floors were connected by awkward, inefficient staircases.
McAlpin, who had last renovated the space in 1992 with the legendary architect Bill Sofield, knew that the new design needed to be a clean slate. Under Bers’s guidance, the interior staircases were demolished, effectively decoupling the floors. Earlier this year, McAlpin sold the lower level, allowing him to focus his resources and creative energy entirely on the seventh-floor sanctuary.
The Engineering of a Sky Garden
The centerpiece of the renovation is the rooftop garden—a feat of engineering that required extensive structural reinforcement to support the weight of mature trees, planters, and an integrated water feature. Designing a landscape in the middle of Noho is not merely an aesthetic choice; it is an act of defiance against the urban grid.
To bring this vision to life, Bers collaborated with landscape designer Owen Emerson of Green Hus. The goal was to create an immersive, lush environment that would provide a respite from the city noise. The garden now flourishes with a carefully curated selection of lavender, black-eyed Susans, salvia, sedum, wisteria, and hydrangeas. The presence of creeping juniper and towering pines adds a verticality that makes the rooftop feel less like a deck and more like a private woodland.
Accessing this oasis required a stroke of architectural ingenuity. Rather than a traditional staircase, Bers designed a sculptural ascent hidden behind a new living-room fireplace. “The idea was that you would climb it like a boulder,” says Bers. “You ascend and then you’re in the treetops.”
Interior Refinement: A Conservatory of the Soul
Inside the seventh floor, the aesthetic is one of intentional, meditative collection. The renovation prioritized an open-plan kitchen and a luxurious, light-filled bedroom suite that features a Japanese-style soaking tub.
Bers describes the bedroom as a “conservatory” or “orangery.” To maintain a sense of calm, he utilized a monochromatic palette for the cement tiling, allowing the texture of the materials to take precedence over pattern. This restraint is evident throughout the home, which functions as a living archive of McAlpin’s personal history.
The living room, centered around the new hearth, is filled with items that represent, as McAlpin puts it, “decades of assembling, scavenging, and collecting.” An iconic Akari lantern by Isamu Noguchi illuminates a mantel adorned with works by Ted Muehling. The dining area, meanwhile, serves as a gallery for a vast collection of ceramics, including rare pieces by Palshus, the Natzlers, and the Owens family of Jugtown Pottery—a collection that dates back to the 1920s through McAlpin’s great-grandmother.
Implications for Urban Living
The project serves as a compelling case study for urban adaptive reuse. By sacrificing square footage and reconfiguring the footprint of his home, McAlpin successfully countered the "canyon effect" of modern development. His home is a testament to the idea that light and nature can be cultivated even in the most densely populated environments if one is willing to challenge the existing structural narrative.
Beyond the design, there is a deep, philosophical implication to the work. The loft is not merely a collection of high-end finishes; it is a repository of relationships and history. The inclusion of a sculpture by his close friend Dorothy Cross, titled Four-Faced Liar, and the presence of his favorite piece of furniture—a Captain’s Chair by Wharton Esherick—infuse the space with personal meaning.
Conclusion: A New Horizon
As the sun sets over Noho, the western light streams into the seventh-floor loft, catching the steam from the Japanese tub and illuminating the textures of the Fortuny fabric headboard. The trees on the roof, swaying above the city street, offer a canopy that effectively silences the hum of Manhattan.
Loring McAlpin’s journey from a blocked view to a private rooftop sanctuary underscores a broader trend in luxury urban design: the move away from the "window on the world" toward the "garden within." In a city that is constantly building up, the true luxury is not the view of the skyline, but the ability to create a world where you can wake up and smell the pine trees.
Chronology of the Renovation
- 1992: Original loft renovation completed with the assistance of Bill Sofield.
- 2013: Initial planning for the seventh-floor overhaul begins following the construction of a neighboring building that obstructed eastern light.
- 2013–2025: A decadelong phased renovation overseen by architect David Bers.
- Early 2026: The sixth floor is sold; the seventh floor is finalized as a single-level residence.
- July 2026: The project is completed, featuring the rooftop garden and interior redesign.
Selected Design Elements
| Item/Area | Notable Feature |
|---|---|
| Living Room | Hearth as the structural and social anchor of the space. |
| Bedroom | Japanese-style tub; monochromatic cement tiling. |
| Garden Flora | Lavender, pines, wisteria, and creeping juniper. |
| Pottery Collection | Jugtown Pottery, Palshus, and Ted Muehling. |
| Furniture | Captain’s Chair by Wharton Esherick; Rolschau Møbler wingback. |
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