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Alone Together Elizabeth Collins Cromley .one Also of interest- . ' AHISTORYOFNEWYORK S Manhartan for Rent, ~ 785-:850 EARLY APARTMENTS ELIZABETH BLACKMAR Elizabeth Blackmar charts the history of the Manhattan real estate market in the early nineteenth century and explains how changing property and labor relations transformed housing into a commodity. She examines the conflicts between landlords and tenants, politicians and developers, women and men, householders and domestic servants, and "respectable citizens" and homeless "vagrants" over housing's cultural meaning and economic value. Among the issues she discusses are the politics of landlording and land use, the republican conception of property, and cultural conflicts that accompanied the appearance of "new modern dwellings" and tenements. Manhattan for Rent, 1785-1850 expertly examines the social forces behind the formation of the city's housing market and its relations to the develop• ment of a capitalist economy. "This unusual and innovative book, with its wonderfully diverse research methods and its mastery of both historical theory and theories of urban planning, fulfills the highest piourise uf interdisciplinary work." -Christine Stansell, Princeton University ISBN 0-8014-2024-5 336 pages Illus. Cornell University Press ITHACA AND LONDO~ ISBN 0-8014-2324-4 134 ALONE TOGETHER might find a stable or a coalyard under construction next door when you woke up in the morning, but Fifty-ninth Street was full of other fine apartment build• ings under construction or already tenanted, assuring them of a respectable street as well as a socially homogeneous building. They decide to purchase shares in the Hubert Home Club and to try apartment life.7 Another (still standing) example of this new scale of French flat was completed the year after the Central Park Apartments. It is the well-known Dakota Apart• ments at Seventy-second Street and Central Park West, designed by the architect Henry Hardenbergh.8 The original design was to house forty-two families in a s quadrangular block with a private courtyard (figs. 46, 47). Initially budgeted for p $1,000,000, its actual construction costs were nearly double that. The Dakota filled the entire end of the block from Seventy-second to Seventy• third streets across from Central Park, about 200 feet square and nine stories C high. It had such modern features as elevators, steam heat, and its own gen• C erator for electricity. Entering on Seventy-second Street, visitors would pass a through a high arched entrance with pilasters at the sides enclosing a mezzanine ..c: a ....b.O window at the top, and into an interior courtyard, ninty-five feet across at its II) ..0 C: widest. At each corner were an elevator and public stairs to the several floors. II) "O The ground floor offered a spacious double room for a restaurant, a private ~ :t C dining room, and a reception room for guests. Upstairs, according to the de• s scription published by the professional magazine Sanitary Engineer, were about sixty-five suites ranging from four to twenty rooms on the main seven floors (rather than the forty-two originally planned) plus additiona1 servants' rooms in the two extra stories of the mansard (converted in recent years to additional apartments).9 A third example of this new era was the Berkshire, a large apartment house at the corner of Madison Avenue and Fifty-second Street by the architect Carl Pfeiffer, under construction in 1883. At seven stories, with two more floors in the mansard plus a basement story half above ground, it was the same height as the Dakota. The exterior (figs. 48, 49) was busy with projecting bays and oriels, and the roof was alive with chimneys and dormers. The Berkshire had two apartments per floor-a four-bedroom unit whose servants' rooms were in the attic, and a three-bedroom unit that included one servant's room. to lrnage from the Street In the 1850s when the first articles recommending apartments had appeared, one view had promoted them as the hope for an impressive architecture of the type normally expected from public buildings. But in the 1890s Montgomery Schuyler speculated on the weakened potential of public buildings for creating a grand architectural presence. One effect of steel-frame and elevator buildings, Schuyler noted, was "to diminish the architectural importance of public build• ings." He remarked that at the turn of the twentieth century when an institution 135 I 1 I -,, F -, 0 - - .." .' ~,., . .. ,,--~--- ..111. ..... ~.... - ..p,u ..1 .. ..- ,a. =-' J. ,,,.fl., en. IQ.QAJ>•• <. .. ,.,,,ct1. 17 I,) I( 11 0 ....::. __ PLANS or SECOND AND THIRD STORIES. (h,0.-0l JI .. i:;.....,.,t ... DAKOTA. .. 0 ).JJ •• •·•1..11-•· •c=~;:l.. ··~[) 0 .......... I l]UXH 0'" .r .. , .. ·-• JI~ " a, 1 t FIGURE 47 Plan ofa typical upper floor at the Dakota. (' (Sanitary Engineer 11 [February 1885]: 271) 137 ~L) 1'o~.M. Jl 6 • 41 o· ~"'D l\.<>,>M. C: 1==::~CL ~ .l) "' L,S·tt" !,Al); K.,. 0 I p Cl- l' ct, q C e a a E C S• ~v,,- ti -11;-~ 11 _.;. :.:c,_ b g ft . ., n ~ _J _J S• I • .( I I I_ b :I l·~ I I l'l-" ,.,. li 'l I I 1j I I { I p ~ I I ' i-1 1 ~ I I a ' 1\ : I C f!lll\."-~· ·~ ... < J. J.' -r f-"'~ L•"'-· ~1A\~~ It..<>•·•,'\ PAJ..!,<•11. L) 4_ • '1 0 •j "'l • \.7 •. 1~-0· " J,· 6. FIGURE 8 View of the Berkshire, corner of Madison Avenue and Fifty-second Street, by Carl Pfeiffer. (American 4 FIGURE 49 The Berkshire had two family units per floor. (AmericanArchitectandBuildingNews 14 [August 4, 1883]: pl. Architect and Building News 14 [August 4, 1883]: pl. 397) 397) 139 1, t ALONE TOGETHER wanted to house itself, it could erect a building of the proper size for its institu• tional needs and risk being dwarfed by the commercial giants around it, or erect a larger building but share interior space with others. Large apartment build• ings, in contrast, could fill an imposingly scaled envelope with rental units, easily outstripping the size and assertiveness of churches and synagogues, schools, and institutional buildings nearby."! Just twenty-five years after Olmsted designed Central Park as a refuge from all that smacked of "city" and urban pressures, the Dakota, the Central Park Apartments, and other such buildings of the early 188os rose so tall as to be visible from all over the park. To Schuyler, looking back from the late 18gos, the Dakota seemed to enhance the park with its picturesque massing. But contempo• rary photographs suggest, rather, that the presence of large apartment houses recreated Central Park, changing it from a natural sanctuary as its designers Frederick Law Olmsted and Calvert Vaux intended, into a precinct walled on the south and increasingly confined on both east and west as urban development a moved northward.12 Apartment houses asserted their presence in ways that the a mid-century had not foreseen, making a fully urban landscape of the neighbor• hoods around Central Park just as commercial buildings and flats had made of E the streets around Union and Madison squares. The problem of designing a suitable facade for large apartment blocks forced architects to deal with the tensions between privacy and publicity, commerce and images of home. Large apartment blocks could never capture the houselike scale available to designers of small French flats. Instead an individualism of style could mark out a large apartment block from nearby buildings. Fifth Avenue and Newport mansions of the post-Civil War years exhibited a fashionable eclectic, historicizing style. Architects of the 1880s apartment houses favored eclectic styles similar to those that mansion designers often used, and which in turn served as identifying markers for apartment buildings. The window forms, tall roofs, and multitudes of dormers of the Dakota, for example (fig. 46), were loosely based on northern Renaissance sources. Contrast• ing colors for the walls and decorative details (now largely obscured by dirt) came from materials that included olive sandstone, terra cotta, a salmon-colored brick, and extensive wrought-iron ornament. Schuyler designated the style "French transitional" and praised the building's "picturesqueness of outline and effect." 13 For Schuyler a unified composition should be the aim of well• considered architecture, and such unity made the Dakota a building with a grand presence. Tenants in the Dakota and other large buildings could easily point out the imposing apartment house as their home, standing out through its assertive style from its city context. But what of the individual family imagery that privacy-loving people might prefer? To passersby and to residents viewing the Dakota up close, the variety of color and ornament created an experience of difference from part to part rather FIGURE 50 The entrance facade of the 1883 Central Park Apartments was filled with changes in than the experience of unity that Schuyler noted. The facade of the Central Park surface texture and plane, with projecting balconies and porticoes. (Illustration by Harry Fenn, in Apartments (fig. 50) shared this disjunctiveness, with its eight separate towers, Everett N. Blanke, "The Cliff Dwellers of New York," Cosmopolitan 15 [j uly 1893]: 354) 141 142 ALONE TOGETHER THE FAMILY FLAT GROWS UP 143 changes in color and texture, projecting bays, porches, and corner turrets. The through a special name. Of course, American hotels also had traditionally used Berkshire's exuberant ornament and variety of detail shifted from floor to floor names rather than addresses to identify themselves, one more place where dis• as balconies picked up where projecting bays left off and the patterns of chimney tinctions were blurred between hotels and apartment houses. The British may ornament changed (fig.
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