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21 West Street Building, 21 West Street, Aka 21-23 West Street, 11-21 Morris Street, and 34- 38 Washington Street, Manhattan

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21 West Street Building, 21 West Street, Aka 21-23 West Street, 11-21 Morris Street, and 34- 38 Washington Street, Manhattan Landmarks Preservation Commission June 16, 1998, Designation List 294 LP-1999 21 West Street Building, 21 West Street, aka 21-23 West Street, 11-21 Morris Street, and 34- 38 Washington Street, Manhattan. Built 1929-31; architects Starrett & Van Vleck. Landmark Site: Borough of Manhattan Tax Map Block 15, Lot 22. On May 19, 1998, the Landmarks Preservation Commission held a public hearing on the proposed designation of the 21 West Street Building (Item No. 1). The hearing was duly advertised according to the provisions of Law. The owner of the building and his representative appeared to speak in favor of designation. Summary The thirty-one story, brick Art Deco office building at 21 West Street was constructed in 1929-31 to the designs of the prolific architectural finn of Starrett & Van Vleck. With its bold, set-back profile, and finely detailed brickwork suggestive of woven fabric, this building epitomizes the skyscrapers built in New York during the "Jazz Age," when architects and their clients were searching for ways to represent this period which was seen as more fast-paced, mechanized, and altogether different from what had come before. The architects used brick for its varied color and textural interest, derived the massing from the recent zoning laws, and used space in new ways, incmporating a recessed street-level shopping arcade and comer windows. The architectural firm of Starrett & Van Vleck which had designed numerous buildings, including offices, schools, and stores were experienced practitioners of this type of design. DESCRIPTION AND ANALYSIS History of the Area the Second A venue Elevated which paved the way The southernmost tip of Manhattan is the oldest for Tudor City on the east side, and the Brooklyn­ inhabited part of the island. It was so densely built Battery Tunnel in lower Manhattan which made up that early in the city's history, the areas adjacent travel between Manhattan and Brooklyn easier, to the shore began to be filled in to create more while eliminating much east-west traffic in lower useable land. The entire block of West Street, from Manhattan, near the site of this West Street building. Battery Place to Morris Street is built upon landfill in the Hudson River; its creation occured in the Art Deco Style5 early years of the nineteenth century, in accordance The Art Deco or Modernistic style of with the terms of certain water grants made by the architecture which primarily appeared in this country city. 1 The earliest occupants of this area purchased from the mid-1920s through the 1930s, has been standard 25-foot lots and constructed individual called an "avant-garde traditionalist" 6 approach to houses on them. Over the course of the nineteenth creating a contemporary idiom for buildings of the century, the city's increasing population, changes in period. As in other self-conscious modern periods, fashion, as well as changes in types of businesses designers and critics of this time expressed the need and their needs meant that residences relocated for a new style which could be deemed appropriate further uptown, leaving lower Manhattan primarily for the period dubbed the "Jazz Age," and all its for business use. Beginning in the early twentieth accompanying technological developments . Much of century, ownership on the block began to change the architecture that we know as Art Deco however, from individuals to realty and warehouse companies. was based on accepted, standard forms and These new owners tended to buy numerous small construction techniques , which were given a modern lots and assemble larger parcels to accommodate cast through the use of a characteristic ornament, new, larger industrial and office buildings. 2 In and a variety of materials, some new and some 1929, the land on which 21 West Street is located, simply used in a new way. Most of the architects then occupied by various low, early nineteenth­ active in this style had received traditional Beaux­ century buildings, changed hands several times Arts training in which the plan and the design of among a series of real estate concerns until it was elevations were the first and most important steps in purchased by the 21 West Street Corporation3 which the design of a building. To these initial steps were erected this office building for investment purposes. added design and ornamental ideas which evolved The period from 1925 to 1931 was a period of from numerous influences including: the Paris 1925 tremendous building and growth in New York City. Exposition International des Arts Decoratifs, the During 1925, fifteen new office skyscrapers were well-publicized designs of the Vienna Secessionists erected, and during 1926, thirty more towers were and the Wiener Werkstatt, the German built. The years 1929-1930 were the peak years for Expressionists, as well as American architects such the construction of office buildings in the Art Deco as Frank Lloyd Wright and Louis Sullivan, current style4 despite the crash of the Stock Market, as those theatrical set designs, and Mayan and other Native which had been previously planned and financed American forms. went forward. Large skyscrapers of those years The overall shape of tall buildings of this period included the Empire State Building (1929-31, 350 came about as a result of the 1916 Building Zone Fifth Avenue, a designated New York City Resolution of New York which decreed setbacks at Landmark), the Chrysler Building (1928-30, 405 various levels to allow light and air to reach the Lexington Avenue, a designated New York City lower stories of buildings in an increasingly dense Landmark), and the Daily News Building (1929-30, city. In 1922, architect and critic Harvey Wiley 220 East 42nd Street, a designated New York City Corbett (1873-1954) and architectural renderer Hugh Landmark) in midtown, and the Manhattan Ferriss (1889-1962) explored the possibilities of the Company Building (1929-30, 40 Wall Street, a zoning law in a series of drawings which illustrated designated New York City Landmark), the City progressive stages of design based on the law's Bank-Farmers Trust Company Building (1930-31, 20 restrictions. These dramatic renderings, published Exchange Place, a designated New York City in Pencil Points (1923) and in Metropolis of Landmark) and the Irving Trust Building (1929-32, Tonwrrow (1929) , significantly influenced architects 1 Wall Street) downtown. Infra-structure of the period. The drawings and the laws from improvements in various parts of the city served as which they came directed the architects' attention to spurs to new development, such as the demolition of the building as a whole rather than to a single facade 2 of the structure, thus altering the whole design conceived and constructed during this fertile design process. By visualizing buildings "from every and building phase of New York architecture. 9 possible angle" the architect was transformed from Since it was built as a speculative investment, the a designer of facades into a "sculptor in building owners wanted an appealing building to attract masses. "7 The zoning law provided architects with tenants, while giving them as large a return on their a sound, rational basis for the form and appearance investment as possible. This type of speculative of the skyscraper as well as a new source of building coincided with the dominant forces of creativity; historical styles did not seem to express business and commercial enterprise in the 1920s, this modern sensibility and consequently, a new and the stylish Art Deco architecture was seen as "skyscraper style" emerged in the 1920s. Major giving expression to this power. characteristics of the new style, as generated in part According to a contemporary report, the by the zoning restrictions, were sculpted massing, building "contains every conceivable device yet bold setbacks, and ornament subordinated to the invented to contribute to the comfort and overall mass. The dramatic rendering style of convenience of its tenants. "10 These features Ferriss and others articulated this new modernist included numerous high-speed elevators as well as a aesthetic. In addition, an emphasis on the verticality uniquely decorated lobby which featured a mosaic of the tall building derived from the wide influence map of old New York. of Elie) Saarinen's second-prize winning competition The design of this building, as conceived by entry for the Chicago Tribune Building in 1923. Starrett & Van Vleck, made use of many of the At the same time, the surfaces of these new current popular architectural theories and ideas. The buildings were treated with little depth, literally as ground floor arcade with storefronts had its a skin around the framework. This idea came from precedent in the Barclay-Vesey Building by the work of architects of the Chicago School, which McKenzie, Voorhees & Gmelin (1923-27, 140 West in turn can be traced back to the writings of German Street, a designated New York City Landmark) and architect Gottfried Semper (1803-1879). In an essay reflected the interest of designers in non-traditional he included as one of the four basic components of uses of space and traffic patterns. The arcade at the architecture the "enclosure of textiles, animal skins, ground story brought pedestrians within the building wattle or any other filler hung from the frame or itself, rather than just having them pass by, and was placed between the supporting poles. "8 This led to an attempt to consider the building in terms of its the idea of walls being treated like woven fabric, a wider environment and planning ideas. Another technique used on several buildings in New York on innovative use of space can be seen in the corner this period, including the Film Center Building by windows of this building which are uninterrupted by Ely Jacques Kahn (1928-29, 630 Ninth Avenue, a piers, thus allowing more light and air into the designated New York City Interior Landmark) .
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