History of New York City Architecture

Total Page：16

File Type：pdf, Size：1020Kb

History of New York City Architecture 1915-1940 Dichotomy: Tradition and Avant Garde • Racquet & Tennis Club, McKim, Mead & White, 1918 • St. Bartholomew’s Church, Bertram G. Goodhue, 1919. • Tudor City, Fred F. French & H. Douglas Ives, 1925-8. • New York Central Building (aka Helmsley Building), Warren & Wetmore, 1929. • Equitable Building, Ernest Graham, 1913-1915 • Barclay-Vesey Building, McKenzie,Voorhees & Gmelin, 1923-7. • American Radiator Building, Hood & Fouilhoux, 1924. CHARACTERISTICS Art Deco not a classical style of building. • Art Deco was not limited to architecture but was a style of decoration applied to jewelry, clothing, furniture, handicrafts, graphics. A time of collaboration between architects, painters, sculptors and other artists • Type of ornamentation was geometrical (parallel straight lines forming zigzags, chevons and stylized floral motifs. basically geometric but used curves, rounded forms • Ornamentation was frequently in low-relief, subtle or perhaps eroded • Materials generally preferred concrete or smooth stone However many times used brick • First extensive use of metals • Use of polychromy many colors terra cotta but also anodized metals • Forms were simplified and streamlined - futurist • Emphasized verticals also used mountain images for skyscrapers • Introduction of horizontal emphasis in skyscrapers • Interplay of verticals and horizontals • Western Union Building, Voorhees, Gmelin & Walker, 1928-1930. • Bank of New York/ originally Irving Trust Company, Ralph Walker of Voorhees, Gmelin & Walker, 1928- 1932. • Empire State Building, Shreve, Lamb & Harmon, 1929-31. • Chrysler Building, William van Alen, 1930. • The Daily News Building, Howells & Hood, 1930. • McGraw Hill Building, Raymond Hood, Godley & Fouilhoux, 1930-1931. • Rockefeller Center, The Associated Architects: Reinhard & Hofmeister; Corbett, Harrison & MacMurray; Raymond Hood, Godley & Fouilhoux, 1932-1940. .

Copy Link

Recommended publications

“From the Cracks in the Sidewalks of NYC”: The
“From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 by Elizabeth Healy Matassa B.A. in Italian and French Studies, May 2003, University of Delaware M.A. in Geography, May 2006, Louisiana State University A Dissertation submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy January 31, 2014 Dissertation directed by Suleiman Osman Associate Professor of American Studies The Columbian College of Arts and Sciences of the George Washington University certifies that Elizabeth Healy Matassa has passed the Final Examination for the degree of Doctor of Philosophy as of August 21, 2013. This is the final and approved form of the dissertation. “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 Elizabeth Healy Matassa Dissertation Research Committee: Suleiman Osman, Associate Professor of American Studies, Dissertation Director Elaine Peña, Associate Professor of American Studies, Committee Member Elizabeth Chacko, Associate Professor of Geography and International Affairs, Committee Member ii ©Copyright 2013 by Elizabeth Healy Matassa All rights reserved iii Dedication The author wishes to dedicate this dissertation to the five boroughs. From Woodlawn to the Rockaways: this one’s for you. iv Abstract of Dissertation “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 This dissertation argues that New York City’s 1970s fiscal crisis was not only an economic crisis, but was also a spatial and embodied one.
[Show full text]
SCOREBOARD Basketball
20—MANCHESTER HERALD. Monday. March 4.1991 SCOREBOARD TUESDAY Royd 1-2, Wood 52), Los Angslaa 2-10 (DIvac 24, Alabama 30) dki not play. NExt: vs. (Instigator, fighting), 13:53; Nolan, Qua, rnidor 1-1, Wbrthy 16, EJohnaon 51, ParMna 51, Florida at Naahvll, j, Tsnn, Friday. (fightaig), 13:53; Sokic, Qua (hooking), 1536; Tstiola 51, Scott 06). Foulad out-Nons. 25. Virginia (2310) did not play. NExt va. Hockey Gmis, QuE (charging), 1 6 3 8 Coif Basketball Rabounda—Houston 62 (1-Smith 22), Los An- Wbka ForEst at Chartotts, N C.. Frkfoy. Third PEriod—8 QuEbEc, Hough 10 (Hikoc, galas S3 (Worthy 10). AaaUts—Houaton 13 Sakic), 1362 (pp). 6, QuEbEc, M lEr 4 (Sakic, LOCAL NEWS INSIDE How women’s Top 25 fared Hough), 19:34. PEnaltiEs—JEnnings, Har (Maxwal. tCSmito. F l^ 13), Los AngoIss 24 Doral Open scores NBA standings (EJohnaon 8). Total touls-Houaton 23. Los How IhE AssociatEd PrEss' Top 25 womEn's NHL standings (rougNng), 136; Raglan, QuE, doubla minor Angaiss 20. Tachnicals—Houaton illogal Mam s farEd Sunday: W ALES CO N FER EN CE (rougNng), 136; Brown, Hor (unaportsmaNIkE MIAMI (AP) — Full and partial acor^ Sunday i A m i M C O N FE R E N C E dsfonaa 3, Los Angalaa Bagal datartas. Wordy. P a trick D iv isio n condiict), 239; Qillip QuE (unaportamaNHw during thE lightning-suspEndEd ktorth round of ■ Parkade subdivision approved. AtlMUeDIvtaton 1. Virginia (27-2) lost to dam son 65-62. A— 17,506. 2. Pann StatE (231) did not play.
[Show full text]
The Graduate School and University Center of the City University of New York Ph.D
The Graduate School and University Center of The City University of New York Ph.D. Program in Art History FALL 2003 - COURSE DESCRIPTIONS N.B. Lecture classes are limited to 20 students, Methods of Research is limited to 15 and seminar classes are limited to 12 students. Three overtallies are allowed in each class but written permission from the instructor and from the Executive Officer and/or the Deputy Executive Officer is required. ART 70000 - Methods of Research GC: Tues., 11:45 A.M.-1:45 P.M., 3 credits, Prof. Bletter, Rm. 3416, [45689] The course will examine the power of visual imagery over text first as a pre-literate, then as a populist, seemingly non-elitist system of information that dominates our culture today. It will deal with the impact of scientific rationalism (the role of perspective and axonometric projections) and Romanticism on the understanding of perception in general (Goethe, Friedrich, and Schinkel will be used as case studies). Notions of mimesis will be introduced through an analysis of the panorama, diorama, photography, and theories of polychromy. The psychological and social developments of perception and their formative influence on theory and practice of art in the nineteenth century will be stressed, as well as the impact of phenomenology and Gestalt psychology in the twentieth century. Jonathan Crary’s approach in Techniques of the Observer will be problematized through examples that contradict his thesis, such as the central place of emotive states in Charles Fourier’s social utopianism, the anti-rationalist program of the 19th c. pre-school and education reform movement (Pestalozzi, Froebel, Montessori) through its emphasis on the emotive (Cizek’s and Itten’s art classes for children in Vienna, Frank Lloyd Wright’s Froebel toys); and the influence of synaesthesia (Symbolism, Art Nouveau, Expressionism), and primitivism (Fauves, New Brutalists, etc.).
[Show full text]
National Register of Historic Places Registration Form
NFS Form 10-900 0MB No. 1024-0018 (Rev. 8-66) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations of eligibility for individual properties or districts. See instructions in Guidelines for Completing National Register Forms (National Register Bulletin 16). Complete each item by marking "x" in the appropriate box or by entering the requested information. If an item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, styles, materials, and areas of significance, enter only the categories and subcategories listed in the instructions. For additional space use continuation sheets (Form 10-900a). Type all entries. 1. Name of Property historic name McGraw-Hill Building_______________________________________ other names/site number 2. Location street & number 330 West 42nd Street I I not for publication city, town New York T I vicinity state NPW York code N.Y. county New York code 061 zip code 10036 3. Classification Ownership of Property Category of Property Number of Resources within Property I"x1 private [X] building(s) Contributing Noncontributing ri public-local I I district 1 ____ buildings I I public-State I I site ____ ____ sites I I public-Federal I I structure ____ ____ structures I I object ____ ____ objects _J__ ____Total Name of related multiple property listing: Number of contributing resources previously listed in the National Register _______ 4. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this EH nomination EH request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60.
[Show full text]
National Register of Historic Places Inventory Nomination
NPS Form 10-900 (3-82) OMB No. 1024-0018 Expires 10-31-87 United States Department off the Interior National Park Service For NPS use only National Register of Historic Places received Inventory Nomination Form date entered See instructions in How to Complete National Register Forms Type all entries complete applicable sections____________ 1. Name historic Rockefeller Center and or common 2. Location Bounded by Fifth Avenue, West 48th Street, Avenue of the street & number Americas, and West 51st Street____________________ __ not for publication city, town New York ___ vicinity of state New York code county New York code 3. Classification Category Ownership Status Present Use district public x occupied agriculture museum x building(s) x private unoccupied x commercial park structure both work in progress educational private residence site Public Acquisition Accessible _ x entertainment religious object in process x yes: restricted government scientific being considered yes: unrestricted industrial transportation no military other: 4. Owner of Property name RCP Associates, Rockefeller Group Incorporated street & number 1230 Avenue of the Americas city, town New York __ vicinity of state New York 10020 5. Location of Legal Description courthouse, registry of deeds, etc. Surrogates' Court, New York Hall of Records street & number 31 Chambers Street city, town New York state New York 6. Representation in Existing Surveys Music Hall only: National Register title of Historic Places has this property been determined eligible? yes no date 1978 federal state county local depository for survey records National Park Service, 1100 L Street, NW ^^ city, town Washington_________________ __________ _ _ state____DC 7. Description Condition Check one Check one x excellent deteriorated unaltered x original s ite good ruins x altered moved date fair unexposed Describe the present and original (iff known) physical appearance The Rockefeller Center complex was the final result of an ill-fated plan to build a new Metropolitan Opera House in mid-town Manhattan.
[Show full text]
Theories of Architecture Lecture-11- Architecture After World War I
Theories of Architecture Lecture-11- Architecture after World War I ART DECO & Rationalism Prepared by Tara Azad Rauof 1 This lecture Context: The Origin of ART DECO Key Ideas Characteristics of ART DECO Famous Art Deco Building Rationalism Rationalism in Architecture Pioneer of Rationalism in Europe 2 ART DECO [The Origin]: Art Deco, sometimes referred to as Deco, is a style of visual arts, architecture and design that first appeared in France just before World War I. Art Deco influenced the design of buildings, furniture, jewelry, fashion, cars, movie theatres, trains, ocean liners, and everyday objects such as radios and vacuum cleaners. Art Deco practitioners were often influenced by such as Cubism, De Stijl, and Futurism. Art Deco was a pastiche of many different styles, sometimes contradictory, united by a desire to be modern. From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the bright colors of de Stijl. The Art Deco style originated in Paris, but has influenced architecture and culture as a whole. Art Deco works are symmetrical, geometric, streamlined, often simple, and pleasing to the eye. This style is in contrast to avant-garde art of the period Key Ideas: * Art Deco, similar to Art Nouveau, is a modern art style that attempts to infuse functional objects with artistic touches. This movement is different from the fine arts (painting and sculpture) where the art object has no practical purpose or use beyond providing interesting viewing. * With the large-scale manufacturing, artists and designers wished to enhance the appearance of mass-produced functional objects - everything from clocks to cars and buildings.
[Show full text]
Vol IV No 1 2018.Pages
Vol. IV, No. 1, 2018 The Chrysler Building at 405 Lexington Avenue. Created by William Van Alen, it is considered Manhattan’s “Deco monument.” See “New York City’s Art Deco Era—with Anthony W. Robins,” p. 2. Photo credit: Randy Juster. "1 Vol. IV, No. 1, 2018 Contents New York City’s Art Deco Era— with Anthony W. Robins P. 2 New York City’s Art Deco by Melanie C. Colter Era—with Anthony W. Robins, by Melanie C. Colter After the Paris World’s Fair of 1925, Art Deco and Style P. 8 R.I. Inspires the Visual Moderne principles spread rapidly across the globe. Between Arts: Edward Hopper’s 1923 and 1932, Art Deco transformed the New York City Blackwell’s Island skyline into its present iconic spectacle, thrusting our city into the modern era. P. 9 Announcing the Roosevelt Island Historical Society 40th Anthony W. Robins is a 20-year veteran of the New York City Anniversary Rafﬂe Landmarks Preservation Commission, and has worked extensively with the Art Deco Society of New York to bring P. 10 Metropolitan Doctor, New York’s modern architectural legacy to the attention of Part 4 city dwellers and visitors alike. In December, as a part of the Roosevelt Island Historical Society’s public lecture series, P. 12 RIHS Calendar; What Are Robins discussed the origins of the Art Deco style and gave Your Treasures Worth? Become an overview of some of New York’s finest Deco buildings. a Member and Support RIHS We encourage you to discover more of our city’s Art Deco period with Robins’ recent book, New York Art Deco: A Guide to Gotham’s Jazz Age Architecture, (SUNY Press, Excelsior Editions, 2017), which features fifteen thoughtful, self-guided walking tours (available at the Roosevelt Island Visitor Center Kiosk).
[Show full text]
Skyscrapers and District Heating, an Inter-Related History 1876-1933
Skyscrapers and District Heating, an inter-related History 1876-1933. Introduction: The aim of this article is to examine the relationship between a new urban and architectural form, the skyscraper, and an equally new urban infrastructure, district heating, both of witch were born in the north-east United States during the late nineteenth century and then developed in tandem through the 1920s and 1930s. These developments will then be compared with those in Europe, where the context was comparatively conservative as regards such innovations, which virtually never occurred together there. I will argue that, the finest example in Europe of skyscrapers and district heating planned together, at Villeurbanne near Lyons, is shown to be the direct consequence of American influence. Whilst central heating had appeared in the United Kingdom in the late eighteenth and the early nineteenth centuries, district heating, which developed the same concept at an urban scale, was realized in Lockport (on the Erie Canal, in New York State) in the 1880s. In United States were born the two important scientists in the fields of heating and energy, Benjamin Franklin (1706-1790) and Benjamin Thompson Rumford (1753-1814). Standard radiators and boilers - heating surfaces which could be connected to central or district heating - were also first patented in the United States in the late 1850s.1 A district heating system produces energy in a boiler plant - steam or high-pressure hot water - with pumps delivering the heated fluid to distant buildings, sometimes a few kilometers away. Heat is therefore used just as in other urban networks, such as those for gas and electricity.
[Show full text]
BEAUX-ARTS APARTMENTS, 310 East 44Th Street, Borough of Manhattan
Landmarks Preservation Commission July 11, 1989; Designation List 218 LP-1669 BEAUX-ARTS APARTMENTS, 310 East 44th Street, Borough of Manhattan. Built 1929-30; Kenneth M. Murchison and Raymond Hood of the firm of Raymond Hood, Godley & Fouilhoux, associated architects. Landmark site: Borough of Manhattan Tax Map Block 1336, Lot 40. On July 12, 1988, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Beaux Arts Apartments and the proposed designation of the related Landmark Site (Item No. 7). The hearing had been duly advertised in accordance with the provisions of law. Sixteen witnesses spoke in favor of designation. Many letters and other expressions of support in favor of designation have been received by the Commission. The owner has expressed certain reservations about the proposed designation. DESCRIPTION AND ANALYSIS summary Designed by Raymond Hood, among the most prominent American architects of the twentieth century, and built in 1929-30, The Beaux-Arts Apartments is one of the earliest examples in New York City to reflect the trend toward horizontal emphasis in the aesthetic of modern European architecture of the 1920s. Conceived as a corollary to the neighboring Beaux-Arts Institute of Design (a designated New York City Landmark), the Beaux-Arts Apartments at 310 East 44th Street and its twin building on the opposite side of the street were intended to provide residential and studio accommodations for architects and artists, as well as others interested in living in what was anticipated as a midtown artistic community. The Beaux-Arts Development Corporation, a syndicate of architects associated with the Institute and allied professionals, joined forces to finance, build, and manage their own real estate venture.
[Show full text]
Bfm:978-1-56898-652-4/1.Pdf
Manhattan Skyscrapers Manhattan Skyscrapers REVISED AND EXPANDED EDITION Eric P. Nash PHOTOGRAPHS BY Norman McGrath INTRODUCTION BY Carol Willis PRINCETON ARCHITECTURAL PRESS NEW YORK PUBLISHED BY Princeton Architectural Press 37 East 7th Street New York, NY 10003 For a free catalog of books, call 1.800.722.6657 Visit our website at www.papress.com © 2005 Princeton Architectural Press All rights reserved Printed and bound in China 08 07 06 05 4 3 2 1 No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. The publisher gratefully acknowledges all of the individuals and organizations that provided photographs for this publi- cation. Every effort has been made to contact the owners of copyright for the photographs herein. Any omissions will be corrected in subsequent printings. FIRST EDITION DESIGNER: Sara E. Stemen PROJECT EDITOR: Beth Harrison PHOTO RESEARCHERS: Eugenia Bell and Beth Harrison REVISED AND UPDATED EDITION PROJECT EDITOR: Clare Jacobson ASSISTANTS: John McGill, Lauren Nelson, and Dorothy Ball SPECIAL THANKS TO: Nettie Aljian, Nicola Bednarek, Janet Behning, Penny (Yuen Pik) Chu, Russell Fernandez, Jan Haux, Clare Jacobson, John King, Mark Lamster, Nancy Eklund Later, Linda Lee, Katharine Myers, Jane Sheinman, Scott Tennent, Jennifer Thompson, Paul G. Wagner, Joe Weston, and Deb Wood of Princeton Architectural Press —Kevin Lippert, Publisher LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Nash, Eric Peter. Manhattan skyscrapers / Eric P. Nash ; photographs by Norman McGrath ; introduction by Carol Willis.—Rev. and expanded ed. p. cm. Includes bibliographical references. ISBN 1-56898-545-2 (alk.
[Show full text]
The Recommended Reading Lists of Alfred Lawrence Kocher and the Beauty of Utility in 1920S America
2020 volume 17 | issue 1 In Search of a Cultural Background: The Recommended Reading Lists of Alfred Lawrence Kocher and the Beauty of Utility in 1920s America Mario Canato Abstract The modernist architect and critic, Alfred Lawrence Kocher, proposed and commented on many bibliographical ref- erences in the Architectural Record in the years 1924-25. Recent studies on American architecture of the 1920s and 1930s have recognized the peculiar character of modernism in the United States and have gone in search of its cultural and social roots. However, Kocher’s extensive lists have so far been completely overlooked. They were based for the most part on the correspondence he exchanged with a number of American and British architects and George Bernard Shaw: he had sent to them a circular letter, asking for recommendations on texts on background literature that a young architect should know. The unpublished correspondence that Kocher had with Louis Sullivan and the 19 texts on “Aesthetics and Theory of Architecture” are analyzed in particular by the author. Although from 1927 onwards Kocher became a passionate supporter of European rationalist architecture, his bibli- ographies cannot be considered a conscious foundational literature on modernism and modernity. They rather give an idea of the ‘cultural trunk’ on which the discussion on modern European architecture was going to be grafted; they help to illuminate the scene on which American architects moved in the mid-1920s. In some of the texts, the pragmatic notion of utility shines through, as − sometimes connectedly − does the concept of a creative act as a free, ‘natural’ act, which derived from American transcendentalism.
[Show full text]
Lecture Handouts, 2013
Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #1 INTRODUCTION & OVERVIEW Introductions Expectations Textbooks Assignments Electronic reserves Research Project Sources History-Theory-Criticism Methods & questions of Architectural History Assignments: Initial Paper Topic form Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #2 ARCHITECTURE OF WWII The World at War (1939-45) Nazi War Machine - Rearming Germany after WWI Albert Speer, Hitler’s architect & responsible for Nazi armaments Autobahn & Volkswagen Air-raid Bunkers, the “Atlantic Wall”, “Sigfried Line”, by Fritz Todt, 1941ff Concentration Camps, Labor Camps, POW Camps Luftwaffe Industrial Research London Blitz, 1940-41 by Germany Bombing of Japan, 1944-45 by US Bombing of Germany, 1941-45 by Allies Europe after WWII: Reconstruction, Memory, the “Blank Slate” The American Scene: Pearl Harbor, Dec. 7, 1941 Pentagon, by Berman, DC, 1941-43 “German Village,” Utah, planned by US Army & Erich Mendelsohn Military production in Los Angeles, Pittsburgh, Detroit, Akron, Cleveland, Gary, KC, etc. Albert Kahn, Detroit, “Producer of Production Lines” * Willow Run B-24 Bomber Plant (Ford; then Kaiser Autos, now GM), Ypsilanti, MI, 1941 Oak Ridge, TN, K-25 uranium enrichment factory; town by S.O.M., 1943 Midwest City, OK, near Midwest Airfield, laid out by Seward Mott, Fed. Housing Authortiy, 1942ff Wartime Housing by Vernon Demars, Louis Kahn, Oscar Stonorov, William Wurster, Richard Neutra, Walter Gropius, Skidmore-Owings-Merrill, et al * Aluminum Terrace, Gropius, Natrona Heights, PA, 1941 Women’s role in the war production, “Rosie the Riverter” War time production transitions to peacetime: new materials, new design, new products Plywod Splint, Charles Eames, 1941 / Saran Wrap / Fiberglass, etc.
[Show full text]