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Old April 22nd, 2006, 09:06 AM   #501
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Originally Posted by Muse
This is what the offensive comment was. It reads that "there are much more important targets than a bunch of magazine writers". They are human beings, but they don't seem to matter eh?
Why are you asking me? Why don't you ask the terrorists why they only selected the WTC and the Pentagon as targets and not the McDonald's restaurant in Fresno, California? The people in the McDonald's in Fresno are humans too, right?

You're just a dumb ass who was trying to make a bunch of shit out of nothing.
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Old April 22nd, 2006, 09:17 AM   #502
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Old April 22nd, 2006, 01:27 PM   #503
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Some interior shots from Flickr:

Love Is In The Air !

I Love NY
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Old April 23rd, 2006, 03:47 PM   #504
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Great project.
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Old April 23rd, 2006, 11:03 PM   #505
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Very nice atrium!
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Old April 24th, 2006, 03:06 AM   #506
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At least we have some interior shots of the Hearst Tower.
I respected your views, so I expect you do to the same.
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Old April 24th, 2006, 09:34 AM   #507
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love those pics towers
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Old April 26th, 2006, 06:11 AM   #508
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good god the inside will ge gorgeous
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Old April 26th, 2006, 06:56 AM   #509
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Oh pretty shinyness!
I smell bad.
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Old June 6th, 2006, 02:58 AM   #510
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Hearst's New Home: Xanadu in Manhattan

Published: June 5, 2006

Suzanne DeChillo/The New York Times

Fifty-five years after the death of William Randolph Hearst, the media company he founded is flush with profits and has realized Mr. Hearst's dream of erecting a Midtown skyscraper.

Richard Perry/The New York Times

Victor Ganzi, the Hearst chief, left, with the architect Norman Foster, center, and the former chief, Frank Bennack.

Hearst Corporation

Cathleen Black, president of Hearst Magazines, said the company was constantly looking for ways to introduce and extend brands.

Frank A. Bennack Jr., the former chief executive of the Hearst Corporation, was recently touring the resplendent new headquarters the company has erected at Eighth Avenue and 57th Street in Manhattan.

What would William Randolph Hearst, the company's legendary founder, have thought of this glass and steel monolith? he was asked. "He only wanted to own his own land and all the land that joined it," Mr. Bennack replied. Gazing around the lobby, he added: "He would have loved it."

Chances are that the Chief, as Mr. Hearst was known to his minions, would be as pleased with the seemingly flush condition of the empire he left behind on his death 55 years ago. Indeed, the company paid for the gleaming headquarters with $500 million in cash.

Among the media giants, the privately held Hearst has been a famously buttoned-up organization. It is gaining a higher profile at a time when publicly traded companies like Time Warner and the Tribune Company are under mounting pressure from disappointed investors. Now, Hearst's ability to move in any direction it chooses without having to explain itself to Wall Street is looking more like a strategic advantage.

The company has been able to go stealthily about its business of running media assets that include newspapers like The San Francisco Chronicle and The Houston Chronicle; scores of magazines, including Cosmopolitan, Good Housekeeping and Esquire; television stations; investments in cable channels; digital start-ups; and much else. It even publishes Floor Covering Weekly and sells ketchup and grass-fed beef under the Hearst brand from ranches it owns in California.

"Since I became C.E.O. of Hearst, people have said: 'Do you like running a private company?' and I've said 'Yes,' " said Victor F. Ganzi, who succeeded Mr. Bennack in 2002. "Now I say, 'No. I love running a private company.' "

Mr. Hearst might also be surprised by the unexpected and ambitious directions Mr. Ganzi has lately taken the business. In March, for instance, Hearst signaled a move away from traditional media by buying a 20 percent interest in the Fitch Group, which operates the Fitch bond rating service, from its French owner, for $592 million.

A month after the Fitch deal — as if to show the company had not given up on its ink-stained roots — it announced a complex deal with the newspaper publisher William Dean Singleton, which would effectively result in Hearst owning a 20 percent to 30 percent stake in Mr. Singleton's company, the MediaNews Group, at a cost of $263 million.

Typical of the inscrutable Hearst style, both of these recent deals make the company appear to be a passive, patient investor in a larger entity. But Mr. Ganzi revealed in an interview that both arrangements carry rights of refusal and other provisions that would allow Hearst to increase its stake in Fitch and MediaNews (excluding a group of California newspapers it owns) and potentially acquire control of both businesses down the road.

"We are comfortable with our minority stake in all these cases and if it never changes we are comfortable with that," Mr. Ganzi said. In the case of MediaNews, Mr. Singleton, 54, and another investor, Richard Scudder, who is 93, each currently own 45 percent of the group of 55 daily newspapers. "Ultimately, I think there will be opportunities," Mr. Ganzi said. Mr. Singleton did not return calls seeking comment.

It is probably no accident that the new 46-story headquarters, with its geometric form, latest technology and green design elements, stands atop the medieval-style cast-stone husk of a six-story Hearst Magazines office built in the 1920's. The profile-raising new tower, like its occupant, is a melding of newfangled and nostalgic — a throwback to the future.

"As a business, it's a bit of an amalgam," said Richard D. Parsons, the chief executive of Time Warner and a friend of Mr. Ganzi. "They're able to think beyond quarter-to-quarter and my sense is they've been very deliberate and thoughtful about building a business that will be around for a long, long time."

Indeed, only one of the company's main business units, Hearst-Argyle Television, is publicly traded — and, as it happens, it has not been much of an investment in recent years. While acknowledging that his company is not immune to the challenges of the Internet or slowing growth at some businesses, such as newspapers, Mr. Ganzi said the company was loath to sell assets.

And while the company is assiduously private in nearly every sense of the word, it is not shy. Mr. Ganzi, 59, is known as a tough negotiator who recently took a personal role in tackling disputes with strong-minded media figures like Charles W. Ergen chief executive of EchoStar, which briefly took the Hearst-affiliated Lifetime Television channel off its satellite service, and Frank A. Blethen, a Seattle publisher trying to disentangle a partnership with The Seattle Post-Intelligencer, a Hearst newspaper.

Mr. Ganzi, a civic-minded accountant and Harvard-trained lawyer, joined the company as its general counsel in 1990. He was brought up in Queens, and his family has owned half of The Palm chain of steakhouses for close to 80 years. Colleagues say Mr. Ganzi is possessed of a photographic memory, and he speaks in precise rapid-fire bursts.

He agreed to a rare interview, given all the curiosity about the company's new tower, yet he declined to meet in person or to pose for a photo. When asked why, he quickly replied into the telephone: "It's quite simple. Don't take this the wrong way: I've enjoyed talking to you but it doesn't make the Hearst Corporation another dollar."

Mr. Ganzi said Hearst executives did not take their private status for granted, and regularly benchmarked their performance against other publicly traded companies. Despite the company's heritage — dating back to 1887, when young William took over The San Francisco Examiner — Mr. Ganzi said that 85 percent of the company's profits came from businesses that were built, started or acquired in the past 30 years.

Through acquisitions, new publications and the nearly obsessive pursuit of brand extensions, the company says it has increased profits in 13 of the last 14 years, and last year raised net income by 10 percent, to about $850 million on revenue of more than $7 billion. (Hearst declined to share more detailed financial information.) By comparison, in 1951, the year Mr. Hearst died, the company had earnings of around $2.6 million, or $20 million in 2005 dollars.

Hearst has been known mostly for its magazines but, while the company generates nearly 60 percent of its revenue from advertising, magazines are expected to represent only 16 percent of its after-tax cash flow this year. Its 12 newspapers and 28 television stations contribute similar cash-flow numbers. According to the company, Hearst generates nearly half of its cash flow from having invested wisely in cable TV channels alongside the Walt Disney Company.

In fact, much of its business is conducted in a maze of partnerships and investments more typical of European family media dynasties than American media conglomerates. For instance, Hearst publishes Smart Money with Dow Jones, runs a magazine distribution business with its publishing rival Condé Nast, and in cable channels holds 50 percent of Lifetime, one-third of A&E and 20 percent of ESPN.

All three of those cable holdings are close partnerships with Disney, which also uses Hearst to distribute its ESPN Magazine. Hearst-Argyle Television, meanwhile, is the largest operator of affiliates for Disney's ABC network.

In a similar vein, NBC Universal owns another third of the cable channel A&E, and Hearst-Argyle is the second-largest operator of NBC affiliates. NBC Universal also recently acquired the Web site iVillage.com, in which Hearst was a 25 percent shareholder.

The ESPN stake, acquired for around $170 million in 1990, has been especially lucrative. Hearst's investment is now worth as much as $3.5 billion, estimates Laura Martin at Soleil Securities. And Robert A. Iger, Disney's chief executive, says: "In many respects we're joined at the hip. We don't really intersect with any other company in the world the way we do with Hearst."

Hearst's marquee magazine business has long bumped up against the fancier Condé Nast Publications and the Time Inc. juggernaut — both of which outstrip Hearst's stable of 20 magazines in terms of ad pages and revenue in the United States. But Hearst has fought for a place in the top rank of publishers under the direction of Cathleen Black, its magazine president for the last decade.

Print and Online

Most notably, Hearst Magazines has pursued an aggressive international expansion of its titles (Cosmopolitan alone has 56 separate editions) and enjoyed breakout success with O, The Oprah Magazine, a partnership with Oprah Winfrey, started in 2000. But a Lifetime magazine fizzled and other recent lifestyle ventures such as Shop Etc., Quick & Simple and Weekend appear, at first blush, more cautious than revolutionary.

But Ms. Black — a champion of print for whom, it seems, the glass is not half-full but overflowing — said the company was constantly looking at ways to introduce and extend brands. "It's got to be something that parts the waters," she said.

Her current focus is online. IVillage, before being sold, was the exclusive Web home for women's publications at Hearst. Now, the company is hustling to create its own digital sales division and pursuing new Web distribution deals like one Ms. Black announced last month with MSN.

Elsewhere, Hearst's approach to the Internet has been typically idiosyncratic. Rather than running Web businesses, it has made some 35 investments in interactive start-ups that have included Netscape and XM Satellite Radio. Some of the company's recent bets — including the companies Sling Media, Brightcove, USDTV and Current Communications — reflect Mr. Ganzi's interest in capitalizing on new forms of distribution for Hearst's video businesses.

Since a vast majority of Hearst's 20,000 employees are outside New York, magazine staff members will fill most of the new tower's floors. Corporate executives and some other divisions will take what is left. The original magazine building, completed in 1928, was part of a plan the Chief hatched in his heyday — when he owned three New York dailies — for a gigantic media plaza. Indeed, its structure was built to support additional floors. Realizing Mr. Hearst's dream of a Midtown skyscraper has been under study for decades.

In his will, Mr. Hearst left an estate in trust valued at roughly $51 million to his wife, five sons and two charities (around $400 million in today's dollars). One provision of the will was that nonfamily members occupy 8 of the 13 slots on the board of trustees. Another was that the trust would dissolve on the death of the last grandchild living on the day Mr. Hearst died. Mr. Ganzi said actuaries estimated that to be some time around 2045 — too far into the future to affect the company's strategic planning.

The Hearst Heirs

Despite their codified independence, several people close to Hearst said Mr. Ganzi and other executives take pains not to be seen as getting in front of the Hearst heirs who are its shareholders. Today, some 60 descendants of Mr. Hearst's sons are among the owners and "remaindermen" (those who will inherit an interest) of the trust. Many of them meet once a year for a picnic in Northern California where, among other activities, bocce is inexplicably a favorite, said George R. Hearst III, a great-grandson of the founder.

George Hearst III is associate publisher of The Albany Times Union, a Hearst paper, and one of several family members who work in the business. His father, George R. Hearst Jr., the oldest surviving heir, is Hearst's chairman. The February issue of the company's Town & Country magazine was uncharacteristically familial: it featured the model Amanda Hearst posing at San Simeon, her great-grandfather's storied castle, in a cover spread.

While there have been tremors of unrest among family members over the years — not uncommon in wealthy dynasties—George Hearst III said in an interview that the family had been uniformly supportive of the new tower.

While it is not exactly Xanadu, Hearst Tower is certainly a major upgrade for many of the company's rank and file. With its soaring entry and French Balzac limestone lobby floor, the building sets a Four Seasons tone for a magazine business that rivals have viewed as more of a Sheraton.

"I've always felt that that is not fair," Ms. Black said. "What I do believe is fair is we've been a very profit-driven company forever. But there's a big difference between being profit-driven and being cheap."

Regardless, the company's image seems certain to change. The complex, designed by Norman Foster, features a 168-seat theater with top-end acoustics, a shimmering crystal waterfall, and Café 57, a staff commissary clearly intended to vie with Condé Nast's renowned cafeteria. (In a nod to the past, the company has also rebuilt the Good Housekeeping dining room from the former building.)

The building has a gymnasium with fancy Italian equipment, which both supplies and launders workout clothes for employees. "I have to say that it's a lot more luxe than I expected," said David Granger, the editor of Esquire, whose staff is among 700 employees who have moved in as of last week.

Helen Gurley Brown, the longtime editor of Cosmopolitan and now head of its international editions, said she was delighted to be moving to a corner office with sweeping views on the 37th floor, leaving the fourth-floor space she occupies in Cosmo's current Midtown Manhattan offices. "I exercise after lunch every day on the floor of my office and I don't want to go clear down to the gym," Ms. Gurley Brown said. "But I think, on the 37th floor, if I stay down on the floor, no one is going to see me."

Hearst's executives say the best part is the culture that will emerge from gathering so many of their employees under one roof for the first time. Thus, for Mr. Ganzi, there is no contradiction in a media company whose bosses eschew public attention erecting a gleaming, translucent landmark.

"I'm less concerned about a statement to the world," he said. "I'm more concerned about a statement to my colleagues. It's a statement about our future as well as, I think, a statement and commitment to our past."
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Old June 8th, 2006, 03:04 AM   #511
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Norman Foster Enjoys His First New York Moment With the Hearst Tower

Published: June 6, 2006

Michael Falco for The New York Times

Norman Foster put a glass-and-steel tower inside the landmarked Hearst Building and got away with it.

Norman Foster had reason to be pessimistic about getting anything built in New York.

His "kissing towers" design for ground zero had been rejected in favor of Daniel Libeskind's master plan, though it had been voted the public's favorite in 2003. The same year he was on the verge of presenting his ideas for an overhaul of Avery Fisher Hall, home of the New York Philharmonic, when the orchestra decided to leave Lincoln Center for Carnegie Hall. (The move ultimately fell through, but it set back the Avery Fisher design process.)

Two years before that, the Hearst Corporation's board had scheduled a meeting for Sept. 12, 2001, to approve his design for a new tower at Eighth Avenue and 57th Street in Manhattan. Naturally, the meeting was put off. Given Hearst's conservative reputation and the financial uncertainty resulting from the 9/11 attacks, Lord Foster was ready for anything.

"You become really quite philosophical," he said over coffee at the Carlyle Hotel during a recent visit to New York from Britain. "It's in the nature of projects. It's in the nature of being an architect. Some projects roll out."

The 46-story Hearst Tower, built atop the company's 1928 headquarters, ultimately did roll out, and employees have begun moving in. Finally Lord Foster has wrapped up his first project in New York.

"We came from the outside," said Lord Foster, of Foster & Partners. "We had a certain sense of conviction about what we should be doing, but the reality was that we hadn't worked here."

Adding to Lord Foster's hurdles, the original six-story Hearst Building has city landmark status, and building his steel-and-glass tower, with its distinctive "diagrid" design, involved negotiations with the city's Landmarks Preservation Commission.

At 71, Lord Foster is hardly new to such challenges. He rebuilt the Reichstag as a new German Parliament in Berlin and designed a contemporary great court for the venerated British Museum. He linked St. Paul's Cathedral to the Tate Modern with the Millennium Bridge, a slender steel footbridge across the Thames. And he has repeatedly had to defend his glass enclosure of the courtyard in the Smithsonian Institution's Old Patent Office Building in Washington. Preservationists argued that Lord Foster's courtyard would spoil the 1868 building, which is a National Historic Landmark.

But Lord Foster also had reason to approach the Hearst tower with confidence. Knighted in 1990 and honored in 1999 with the Pritzker Architecture Prize — his profession's most prestigious award — Lord Foster is considered by many to be the most prominent architect in Britain.

He is an increasingly strong presence in the United States as well, with a role in a $5 billion, 66-acre development in the heart of Las Vegas and a commission for Tower 2 at 200 Greenwich Street, one of the office buildings planned by the developer Larry A. Silverstein for the World Trade Center site in Lower Manhattan. Lord Foster is also designing a proposed Globe Theater on the site of Castle Williams on Governors Island, although that project will vie with many others.

This architect was warned that he could be in for a rough ride in his project for the Hearst Corporation, a media company that publishes magazines like Cosmopolitan, Good Housekeeping and Esquire. "I was told what was possible and not possible in New York," he said.

Lord Foster thought of the historic cast-concrete exterior of the Hearst Building as the facade of a town square. "You would have a big plaza, and that would be part of the sense of the arrival, part of the identity of the building," he said. In preserving just the old building's shell, Lord Foster expected to be accused of facade-ism.

"I think it came from everybody who, with the best will in the world, was seeking to say: 'This is New York. There are certain things that you can do with a historic building and certain things you can't do. You cannot take the floors out and gut a building."

His response, he said, was: "Look, you're giving me the responsibility to try to achieve a tower on this building. If you're charging me with that responsibility, I think that I should be given the mandate to back my judgment."

There was not enough height between the original floors to create the kind of offices that Lord Foster said were needed for a company to function effectively today. "An office space in 1928 is very different from an office space in 2006; the demands are totally different," he said.

Using the original building would give Hearst "very poky offices," he said, "with very low ceilings, and everybody saw that as inevitable."

"I felt very uncomfortable with that direction," Lord Foster said, so he moved the office space up into the tower. "It seemed there ought to be the opportunity to have a truly celebratory space that would be about the family of Hearst. I don't mean the Hearst family, I don't mean the management, but actually the community of the Hearst organization."

So Lord Foster decided to gut the original interior to create a soaring lobby with a waterfall, a restaurant for the company's 2,000 employees and communal areas for meetings and receptions. He calls the grand level the building's piano nobile, evoking the Italian Renaissance notion of a palazzo's "noble floor."

"Every civic building has a principal level," he said. "Traditionally, as you approach a classical building, you ascend the steps and go up to the principal level."

The offices were designed for flexibility, so each of Hearst's magazines could customize its space. "It's the difference between the off-the-rack suit and something that is really bespoke tailoring," he said.

Frank A. Bennack Jr., Hearst's former chief executive, said Lord Foster took the time to study the corporation's needs. "Norman has a feel for what it is your business does," he said. "The dialogue is often not about architecture, but how does your business function, and how do people live in the space."

The building is also expected to earn certification as the second environmentally sensitive, or green, office tower in New York. (The first is 7 World Trade Center.) More than 85 percent of the tower's structural steel contains recycled material, for example, and the building's main level has radiant floors that are cool in the summer and generate heat in the winter. As a result of these sustainable virtues, the Hearst Tower is expected to receive a gold rating from the United States Green Building Council, a coalition of construction-industry leaders that grades buildings in areas like energy consumption and indoor-air quality.

As it turned out, the building easily moved through the approval process. In his recent book, "Reflections" (Prestel Publishing), Lord Foster shares images of structures that have moved him over the years: the Kasbah in Marrakesh, Morocco; the Parthenon in Athens; and Frank Lloyd Wright's Solomon R. Guggenheim Museum in Manhattan.

In setting out to design the Hearst Tower, Lord Foster said, he thought about "satisfying the senses, the spirit of the place, the joy of an interplay of light or shadow or texture or color."

"How the light comes into the equivalent of the town square — that is a value judgment," he said. "The light meter is going to tell you the level of light. It's not going to tell you whether the light is going to lift your spirits, whether it's going to sing."
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Old June 13th, 2006, 03:43 AM   #512
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I only hope that Foster makes his WTC Tower look as cool as the Hearst Tower.
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Old June 13th, 2006, 03:50 AM   #513
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Originally Posted by Ebola
I only hope that Foster makes his WTC Tower look as cool as the Hearst Tower.
I agree 100%.
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Old June 13th, 2006, 08:03 PM   #514
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dont worry im sure that he will come up with something so fantastic that we will bow before it

after all, this is his chance to make a true ny icon, he wont fail im sure
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Old June 14th, 2006, 05:14 AM   #515
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Norman Foster is a genius. His buildings look so futuristic and yet classy and elegant at the same time. That's why many organizations chose him to renovate historical landmarks because he can "Magically" blend the old with the new. If I ever go to New York or London, I will definitely visit his buildings.

He is my most favorite architect besides I.M. Pei.
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Old July 6th, 2006, 07:11 AM   #516
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Hong Kong Photo Gallery - Click Here for the Hong Kong Galleries

World Photo Gallery - | St. Petersburg, Russia | Pyongyang | Tokyo | Istanbul | Dubai | Shanghai | Mumbai | Bangkok | Sydney

New York, London, Prague, Iceland, Rocky Mountains, Angkor Wat, Sri Lanka, Poland, Myanmar, and much more!
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Old July 6th, 2006, 04:27 PM   #517
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Truly stunning!!! It's New York version of the Swiss RE in London!

It does look a little bit out of place in New York though imo, would be better suited in a European city. Next to London Swiss RE preferably

Still though it looks fanastic!

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Old August 14th, 2006, 02:06 AM   #518
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Saturday evening..from my friends terrace...his Boyfriend's birthday party..on west 51th .....

august 12, 2006

other views from his terrace...

Love Is In The Air !

I Love NY
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Old August 14th, 2006, 02:11 AM   #519
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Wow that is one lucky man to have views like that right out his window. Thanks for the shots.
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Old August 14th, 2006, 04:24 AM   #520
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the second foto is the new "Link" tower..was not there a year ago!!! they have a wrap around terrace on the 16th floor penthouse !!!
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