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Historic Preservation Law: the Metes & Bounds of a New Field
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 1-1-1981 Historic Preservation Law: The Metes & Bounds of a New Field Nicholas A. Robinson Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Environmental Law Commons Recommended Citation Nicholas A. Robinson, Historic Preservation Law: The Metes & Bounds of a New Field, 1 Pace L. Rev. 511 (1981), http://digitalcommons.pace.edu/lawfaculty/387/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Historic Preservation Law: The Metes & Bounds of a New Field NICHOLAS A. ROBINSON* Historic Preservation Law has come to mean that combina- tion of regulations, common-law property principles, tax incen- tives, and adjective law in administrative proceedings, governing historic sites and property within the United States. Although Congress first recognized a need to conserve the nation's wealth of historic amenities in 1906 when it adopted The Antiquities Act,' it was only with the nation's bicentennial that the volume and diversity of laws designed to maintain, protect and preserve historic America grew to the point where it could be said that a new field of law had emerged. The symposium which follows this essay represents the first attempt to comprehensively delineate the elements of this new field.8 The conference entitled "Historic Preservation and the * J.D., 1970, Columbia University; A.B., 1967, Brown University; Associate Profes- sor of Law, Pace University School of Law. -
William Burnet Tuthill Collection
WILLIAM BURNET TUTHILL COLLECTION William Burnet Tuthill Collection Guide Overview: Repository: Inclusive Dates: Carnegie Hall Archives – 1891 - 1920 Storage Room Creator: Extent: William Burnet Tuthill 1 box, 42 folders; 1 Scrapbook (10 X 15 X 3.5), 5 pages + 1 folder; 44 architectural drawings Summary / Abstract: William Burnet Tuthill is the architect of Carnegie Hall. He was an amateur cellist, the secretary of the Oratorio Society, and an active man in the music panorama of New York. The Collection includes the questionnaires he sent to European theaters to investigate about other theaters and hall, a scrapbook with clippings of articles and lithographs of his works, and a series of architectural drawings for the Hall and its renovations. Access and restriction: This collection is open to on-site access. Appointments must be made with Carnegie Hall Archives. Due to the fragile nature of the Scrapbook, consultation could be restricted by archivist’s choice. To publish images of material from this collection, permission must be obtained in writing from the Carnegie Hall Archives Collection Identifier & Preferred citation note: CHA – WBTC – Q (001-042) ; CHA – WBTC – S (001-011) ; CHA – AD (001-044) William Burnet Tuthill Collection, Personal Collections, Carnegie Hall Archives, NY Biography of William Burnet Tuthill William Burnet Tuthill born in Hoboken, New Jersey, in 1855. He was a professional architect as well as passionate and amateur musician, a good cellist, and an active man in the music scene of New York. He studied at College of the City of New York in 1875 and after receiving the Master of Arts degree, started his architectural career in Richard Morris Hunt’s atelier (renowned architect recognized for the main hall and the façade of the Metropolitan Museum on Fifth Avenue, the Charity Home on Amsterdam Avenue – now the Hosteling International Building- and the pedestal of the Statue of Liberty). -
Elevator Interior Design
C AMB RIDGE A select portfolio of architectural mesh projects for new or refurbished elevator cabs, lobbies and high-traffic spaces featuring Cambridge’s metal mesh. ARCHITECTURAL MESH Beautiful, light-weight and durable, architectural mesh has been prized by architects and designers since we first wove metal fabric for the elevator cabs in Mies van der Rohe’s Seagram Building in 1958. And it’s still there today. Learn more about our elite line of elegant panels in stainless steel, brass, copper and aluminum. Carnegie Hall, New York City Elegant burnished aluminum panels lift Carnegie Hall’s elevator interiors to another level. Installed by EDI/ECI in concert with Iu + Biblowicz Architects, Comcast Center, Philadelphia, PA Cambridge’s Sawgrass pattern adds When designing the a refined and resilient interior to world’s tallest green this refurbished masterpiece. building, Robert A.M. © Gbphoto27 | Dreamstime.com Stern Architects added style and sustainability with Empire State Building, Cambridge mesh. New York City Classically outfitted Beyer, Blinder & with the chic Ritz pattern, the flexible Belle Architects stainless steel fabric integrates the modernized the lobby and elevators with a smooth landmark and seamless design. skyscraper’s elevator cabs with Cambridge’s Stipple mesh. Installed by the National Elevator Cab & Door Co., the dappled brushed aluminum surface stands up to the traffic and traditions of this legendary building. Victory Plaza, Dallas, TX TFO Architecture’s YAHOO!, Sunnyvale, CA expansive mixed-use project in the center Gensler architects of downtown selected Cambridge’s incorporates one of Silk mesh to clad Cambridge’s most elevators at Yahoo’s popular rigid mesh Silicon Valley fabrics. -
Cororio Carnegie Hall / New York City Tour May 22 – 26, 2018
CoroRio Carnegie Hall / New York City Tour May 22 – 26, 2018 Round Trip Airfare from Memphis to New York City (pricing updated 9/10/17) Round Trip Ground Transportation to/from Airport and Hotel in New York City PERFORMANCE with DCINY at Carnegie Hall (performers)** Four Nights’ Accommodations at a Midtown Manhattan Hotel** Three Group Dinners ~ Two Sightseeing Attractions ~ One Broadway Show ~ One 4-Trip Metro Card** Orchestra Level Concert Seating and POST CONCERT RECEPTION for all Performers and VIP Patrons** All taxes, gratuities and mandatory fees** **Inclusions in the Land only package Prices are per person DCINY Registration Type** Quad Triple Double Single Air & Land Performer $ 2015.00 $ 2140.00 $ 2385.00 $ 3020.00 Air & Land VIP Patron (Non-Performer) $ 1520.00 $ 1645.00 $ 1890.00 $ 2525.00 Air & Land Concert Attendee $ 1205.00 $ 1330.00 $ 1575.00 $ 2210.00 Land Only Performer $ 1665.00 $ 1790.00 $ 2035.00 $ 2670.00 Land Only VIP Patron (Non-Performer) $ 1170.00 $ 1295.00 $ 1540.00 $ 2175.00 Land Only Concert Attendee $ 855.00 $ 980.00 $ 1225.00 $ 1860.00 **DCINY Registration Inclusions: All students are required to purchase the Performer package. VIP Patrons are admitted to all rehearsals, including dress rehearsals in Carnegie Hall, and receive orchestra level concert seating and admission to the post concert reception for all performers & directors. Parents who are accompanying their singer are encouraged to be VIP Patrons (at least one per family). Concert attendee cost includes $80 for an orchestra level concert seat with the rest of the group. Note: The above prices include DCINY Performer Fee of $790.00 and DCINY VIP fee of $395.00, all hotel taxes, mandatory baggage handling fee at hotel (one suitcase per person), gratuities and service charges. -
Landmarks Preservation Commission November 22, 2016, Designation List 490 LP-2579
Landmarks Preservation Commission November 22, 2016, Designation List 490 LP-2579 YALE CLUB OF NEW YORK CITY 50 Vanderbilt Avenue (aka 49-55 East 44th Street), Manhattan Built 1913-15; architect, James Gamble Rogers Landmark site: Borough of Manhattan Tax Map Block 1279, Lot 28 On September 13, 2016, the Landmarks Preservation Commission held a public hearing on the proposed designation of the Yale Club of New York City and the proposed designation of the related Landmark Site. The hearing had been duly advertised in accordance with provisions of law. Six people spoke in support of designation, including representatives of the Yale Club of New York City, Manhattan Borough President Gale A. Brewer, Historic Districts Council, New York Landmarks Conservancy, and the Municipal Art Society of New York. The Real Estate Board of New York submitted written testimony in opposition to designation. State Senator Brad Hoylman submitted written testimony in support of designation. Summary The Yale Club of New York City is a Renaissance Revival-style skyscraper at the northwest corner of Vanderbilt Avenue and East 44th Street. For more than a century it has played an important role in East Midtown, serving the Yale community and providing a handsome and complementary backdrop to Grand Central Terminal. Constructed on property that was once owned by the New York Central Railroad, it stands directly above two levels of train tracks and platforms. This was the ideal location to build the Yale Club, opposite the new terminal, which serves New Haven, where Yale University is located, and at the east end of “clubhouse row.” The architect was James Gamble Rogers, who graduated from Yale College in 1889 and attended the Ecole des Beaux Arts in Paris during the 1890s. -
Carnegie Hall Subscription Exchange Form
Subscription Exchange Exchange 1 Account Number Name Enclosed please find the following ticket(s) for exchange: Address Concert City State Zip Date Number of Tickets Value Phone (Daytime) Please send me exchange ticket(s) for the following*: Email First Choice Seating Requests If I cannot be seated in the same seat category as the ticket(s) I am Second Choice returning, I will accept the following (please check all that apply): Third Choice Stern/Perelman Zankel Blavatnik Family First Tier Parterre / Parterre Box Prime Parquet / Parquet Mezzanine / Mezzanine Box Second Tier Exchange 2 Weill Dress Circle Orchestra Center Balcony / Balcony Balcony Enclosed please find the following ticket(s) for exchange: Obstructed View / Restricted Leg Room Best available seating Concert Payment Please charge (or credit) any price difference to my credit card. Date Number of Tickets Value Mastercard American Express Discover Visa Please send me exchange ticket(s) for the following*: Account Number Expiration Date First Choice Second Choice Name (as it appears on card) Third Choice Signature Billing Address (if different from address above) Exchange 3 Exchange Procedure Enclosed please find the following ticket(s) for exchange: Complete this form and mail it to the address listed below with the tickets you wish to exchange. As an alternative, you may tear the tickets Concert in half, and email a scan or photo of them along with this form. To allow time for Carnegie Hall to resell your original seats, we request that ticket exchanges be received at least two business days (Monday Date Number of Tickets Value through Friday) before the event date of the tickets being exchanged. -
2018–2019 Annual Report
18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J. -
Welcome to Carnegie Hall! Explore the Exciting History of Carnegie Hall and Meet Our Characters: Elvis, Violet, Gino the Cat, A
Welcome to Carnegie Hall! Unit 1 | 27 Explore the exciting history of Carnegie Hall and meet our characters: Elvis, Violet, Gino the Cat, and the Conductor. Authors Contributing Editors Design Associate Audio Production Kirstin Anderson James Blachly David Silva Managing Editor Leszek Wojcik Richard Mannoia Sue Landis Lora Dunn Audrey Sherer Illustration Marte Siebenhar Sophie Hogarth Nina Stern © 2009 The Carnegie Hall Corporation. All rights reserved. ACKNOWLEDGMENTS “A Simple Melody,” music and lyrics by Nick Scarim, © 2000 Nick Scarim, 2008 Carnegie Hall. Performed by Sue Landis and Michael Mizrahi. “Tideo,” traditional American song. Performed by Sue Landis and Shane Schag. “De Colores,” traditional Mexican song. Performed by Sue Landis and Shane Schag. “Ode to Joy” by Ludwig van Beethoven. Adapted by John Whitney. Performed by Sue Landis and Shane Schag. “Au Claire de la lune” by Claude Debussy. Arranged by Richard Mannoia. Performed by Sue Landis. “Hot Cross Buns,” traditional American song. Performed by Sue Landis. All songs © 2009 Carnegie Hall, except where noted. LinkUP! is made possible through the generous annual support of The Marie Baier Foundation, Wachovia, The Rose M. Badgeley Residuary Charitable Trust, The Seth Sprague Educational and Charitable Foundation, and The Barker Welfare Foundation. 5 Unit 1: Welcome to Carnegie Hall! Elvis: Wow! Look at this beautiful building! It’s one of my favorite places to experience music in New York City—Carnegie Hall! Wait a second! Hey, cat, you can’t go in there. That’s a concert hall! 6 unit 1 Elvis: Oh! Hi, Violet. It’s funny bumping When playing together as a group, into you here at Carnegie Hall. -
Musical Explorers My City, My Song a Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2
Weill Music Institute Musical Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 Student Guide Weill Music Institute Musical Explorers My City, My Song A Program of the Weill Music Institute at Carnegie Hall for Students in Grades K–2 Student Guide WEILL MUSIC INSTITUTE Joanna Massey, Director, School Programs Jacqueline Stahlmann, Manager, Elementary School Programs Marie Ortinau, Administrative Assistant, Elementary School Programs PUBLISHING AND CREATIVE SERVICES Jay Goodwin, Managing Editor, WMI Carol Ann Cheung, Senior Editor Evelyn Ochoa, Graphics Manager CONTRIBUTORS Daniel Levy, Consultant Sophie Hogarth, Illustrator Scott Lehrer, Audio Production Weill Music Institute at Carnegie Hall 881 Seventh Avenue | New York, NY 10019 Phone: 212-903-9670 | Fax: 212-903-0758 [email protected] carnegiehall.org/MusicalExplorers Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern. Major funding for Musical Explorers has been provided by the Charles Haimoff Endowment, E.H.A. Foundation, and The Walt Disney Company. Additional support has been provided by the Ella Fitzgerald Charitable Foundation. Musical Explorers is also made possible, in part, by an endowment gift from The Irene Diamond Fund. © 2014 The Carnegie Hall Corporation. All rights reserved. 1 Welcome to Our Musical Trip! Welcome, Musical Explorers! I’m your conductor, and I’ll help you explore our musical city. Together, we’ll meet our singers and hear their songs and stories. Come along with me and make your discoveries! Subway map © 2014 and MTA New York City subway logo ™ Metropolitan Transportation Authority. Used with permission. -
Federal Railroad Administration Record of Decision for the East Side Access Project
Federal Railroad Administration Record of Decision For the East Side Access Project September 2012 SUMMARY OF DECISION This is a Record of Decision (ROD) of the Federal Railroad Administration (FRA), an operating administration of the U.S. Department of Transportation, regarding the East Side Access (ESA) Project. FRA has prepared this ROD in accordance with the National Environmental Policy Act (NEPA), the Council on Environmental Quality’s (CEQ) regulations implementing NEPA, and FRA’s Procedures for Considering Environmental Impacts. The Metropolitan Transportation Authority (MTA) filed an application with the FRA for a loan to finance eligible elements of the ESA Project through the Railroad Rehabilitation and Improvement Financing (RRIF) Program. The ESA Project is the MTA’s largest system expansion in over 100 years. The ESA Project will expand the Long Island Rail Road (LIRR) services by connecting Queens and Long Island with East Midtown Manhattan. With direct LIRR service to Midtown East, the LIRR will further increase its market share of commuters by saving up to 40 minutes per day in subway/bus/sidewalk travel time for commuters who work on Manhattan’s East Side. The ESA Project was previously considered in an environmental impact statement (EIS) prepared by the Federal Transit Administration (FTA) in May 2001 and subsequent FTA reevaluations and an environmental assessment of changes in the ESA Project. Construction of the ESA Project has been ongoing since 2001. FRA has reviewed the environmental impacts for the ESA Project identified in the FTA March 2001 Final EIS, subsequent FTA Reevaluations, and the 2006 Supplemental EA/FONSI (collectively, the “2001 EIS”) for the ESA Project and adopted it pursuant to CEQ regulations (40 CFR 1506.3). -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Saving Carnegie Hall: A Case Study of Historic Preservation in Postwar New York City Permalink https://escholarship.org/uc/item/3x19f20h Author Schmitz, Sandra Elizabeth Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Saving Carnegie Hall: A Case Study of Historic Preservation in Postwar New York A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Sandra Elizabeth Schmitz June 2015 Thesis Committee: Dr. Patricia Morton, Chairperson Dr. Jason Weems Dr. Catherine Gudis Copyright by Sandra Elizabeth Schmitz 2015 The Thesis of Sandra Elizabeth Schmitz is approved: Committee Chairperson University of California, Riverside Acknowledgements I would like to thank my thesis advisor, Dr. Patricia Morton, for helping me to arrive at this topic and for providing encouragement and support along the way. I’m incredibly grateful for the time she took to share her knowledgeable insight and provide thorough feedback. Committee members Dr. Jason Weems and Dr. Catherine Gudis also brought valuable depth to my project through their knowledge of American architecture, urbanism, and preservation. The department of Art History at the University of California, Riverside (UCR) made this project possible by providing me with a travel grant to conduct research in New York City. Carnegie Hall’s archivists graciously guided my research at the beginning of this project and provided more information than I could fit in this thesis. I could not have accomplished this project without the support of Stacie, Hannah, Leah, and all the friends who helped me stay grounded through the last two years of writing, editing, and talking about architecture. -
Landmarks Commission Report
Landmarks Preservation Commission October 29, 2002, Designation List 340 LP-2118 RITZ TOWER, 465 Park Avenue (aka 461- 465 Park Avenue, and 101 East 57th Street), Manhattan. Built 1925-27; Emery Roth, architect, with Thomas Hastings. Landmark Site: Borough of Manhattan Tax Map Block 1312, Lot 70. On July 16, 2002 the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Ritz Tower, and the proposed designation of the related Landmark Site (Item No.2). The hearing had been advertised in accordance with provisions of law. Ross Moscowitz, representing the owners of the cooperative spoke in opposition to designation. At the time of designation, he took no position. Mark Levine, from the Jamestown Group, representing the owners of the commercial space, took no position on designation at the public hearing. Bill Higgins represented these owners at the time of designation and spoke in favor. Three witnesses testified in favor of designation, including representatives of State Senator Liz Kruger, the Landmarks Conservancy and the Historic Districts Council. In addition, the Commission has received letters in support of designation from Congresswoman Carolyn Maloney, from Community Board Five, and from architectural historian, John Kriskiewicz. There was also one letter from a building resident opposed to designation. Summary The Ritz Tower Apartment Hotel was constructed in 1925 at the premier crossroads of New York’s Upper East Side, the corner of 57th Street and Park Avenue, where the exclusive shops and artistic enterprises of 57th Street met apartment buildings of ever-increasing height and luxury on Park Avenue.