DOCSLIB.ORG

Información General

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Información general. Desarrolladores JDS DEVELOPMENT GROUP PROPERTY MARKETS GROUP SPRUCE CAPITAL PARTNERS El arquitecto original de Steinway Hall Warren and Wetmore El arquitecto de la torre SHoP ARCHITECTS Diseño interior STUDIO SOFIELD 111 West 57th Street es un proyecto en Central Park y Manhattan como ningún otro. Ubicado entre las avenidas 6 y 7 y las calles 57 y 58, el 111 está situado en Central Park, y coloca la belleza natural del parque en el tipo de perspectiva lineal aclamada por los grandes artistas y arquitectos del Renacimiento, ya que es un proyecto equilibrado, alineado e intenso. Esa calidad de alineación está construida en una estructura finamente optimizada que logra una enorme resistencia a nuevas alturas y una bonita elegancia. Esa afinación con el sentido de pertenencia se establece en un edificio emblemático, el Steinway Hall, la sede histórica de los famosos fabricantes de pianos, la cual ahora alberga residencias e instalaciones notables, incluida una íntima sala de recitales. Desde una base histórica hasta un punto de referencia contemporáneo, el 111 combina lo antiguo con lo nuevo, el arte con la ingeniería y la naturaleza con la cultura en una simetría perfecta, lo que establece una nueva línea a lo largo del horizonte y a lo largo del centro del parque en el centro de la isla y en el centro del mundo. Representación del artista. Steinway Hall, 1926. HISTORIA — La historia del 111 West 57th Street es una composición de música en dos movimientos, que reúne lo mejor del diseño arquitectónico de la era dorada antes de la guerra de la ciudad de Nueva York con lo mejor de la creatividad actual en cuanto a innovación de diseño, ingeniería y construcción. El primer movimiento comienza con el Steinway Hall de Warren and Wetmore, representado el día de la inauguración por el mejor representante arquitectónico de todos los tiempos, Hugh Ferriss, con su combinación característica de expresar detalles clásicos intemporales y valores arquitectónicos que iluminan el horizonte de Manhattan. El segundo movimiento comienza con los maestros modernos SHoP Architects y Studio Sofield, llevando estos detalles y valores al siglo XXI a través de los diseños exteriores e interiores en absoluta armonía. Dibujo a lápiz de Hugh Ferriss del Steinway Hall, 1925. LOS ARQUITECTOS ORIGINALES: MAESTROS DE MANHATTAN — El histórico Steinway Hall fue diseñado por la famosa firma arquitectónica Warren and Wetmore, quienes fueron los arquitectos de los edificios residenciales y culturales más refinados de Manhattan, desde 927 Fifth Avenue hasta Grand Central Station. El diseño del Steinway Hall apareció en la portada de The New York Times en octubre de 1923, en un artículo que elogió el edificio proyectado como «una adición importante al nuevo centro de bellas artes». El enfoque artístico de Warren and Wetmore culminó en proporciones clásicas de piedra cuidadosamente tallada y en una pintoresca línea en el tejado. Como la casa insignia del principal fabricante de pianos, Steinway & Sons, el Steinway Hall incluyó salas acústicamente ideales para espectáculos musicales dirigidos por famosos como Serguéi Rajmáninov y Vladimir Horowitz, así como también incluyó espacios para hacer y afinar instrumentos. Grand Central Station, Warren and Wetmore, 1930. OBRAS MAESTRAS DE WARREN AND WETMORE: UNA LISTA CORTA — LA CASA DE LA 1914 RAQUETA EN TUXEDO CLUB PACKARD MANOR Tuxedo Park, Nueva York, Chautauqua, Nueva York 1890-1900 1915 WESTMORLY COURT TEXAS COMPANY Parte de Adams House (TEXACO) BUILDING en la Universidad de Houston, Texas Harvard 1915 1898–1902 927 FIFTH AVENUE Ciudad de Nueva York CLUB DE YATES 1917 DE NUEVA YORKCiudad de Nueva York COMMODORE HOTEL 1899 Ciudad de Nueva York 1920 MARSHALL ORME WILSON HOUSE MICHIGAN CENTRAL Ciudad de Nueva York STATION 1903 Detroit, Míchigan 1920 49 EAST 52ND STREET Vanderbilt Guest House THE CROWN BUILDING Ciudad de Nueva York Ciudad de Nueva York 1908 1921 CHELSEA PIERS RITZ-CARLTON Ciudad de Nueva York Atlantic City, Nueva Jersey 1910 1921 UNION STATION PROVIDENCE Houston, Texas BILTMORE HOTEL 1911 Providence, Rhode Island 1922 CONDADO VANDERBILT HOTEL MAYFLOWER HOTEL San Juan, Puerto Rico Washington D. C. 1911 1922 AEOLIAN HALL STEINWAY HALL Ciudad de Nueva York Ciudad de Nueva York 1912 1925 NEW YORK ITALIAN EMBASSY BILTMORE HOTEL BUILDING Ciudad de Nueva York Washington D. C. 1913 1925 GRAND CENTRAL ROYAL HAWAIIAN HOTEL TERMINAL Honolulu, Hawái Ciudad de Nueva York 1927 1913 EMPIRE TRUST HELMSLEY BUILDING COMPANY BUILDING Ciudad de Nueva York Ciudad de Nueva York 1913 1929 903 PARK AVENUE Ciudad de Nueva York The Crown Building, Warren and Wetmore, 1921. SH oP ARCHITECTS: TODAY'S ARCHITECTS — SHoP aprovecha el poder de la experiencia interdisciplinaria para crear una arquitectura que hace que nuestras ciudades sean lugares más vibrantes, bellos y gratificantes para vivir. Operando desde sus estudios en el histórico Woolworth Building de Nueva York, la famosa firma cuenta con un personal de 180 personas talentosas y con proyectos completados o en curso en cuatro continentes. El corazón del trabajo de SHoP es el respeto por el potencial expresivo de los materiales arquitectónicos tradicionales y la capacidad tecnológica innovadora, lo que los convierte en una firma inspiradora para estos tiempos. En el 111 West 57th Street, el diseño de SHoP representa las cualidades de la forma y del arte que siempre han tenido los mejores rascacielos de Manhattan. Trabajando con terracota y bronce, los arquitectos crearon una manifestación «neoyorquina» para la torre. Será al mismo tiempo el único en el horizonte e imposible de imaginar en cualquier otro lugar. En sentido horario: Barclays Center, 626 First Avenue (representación del artista), Botswana Innovation Hub (representación del artista) y Porterhouse. EL INTERIOR EMBLEMÁTICO — En el año 2013, la conservada rotonda interior del Steinway Hall fue declarada como un lugar emblemático de Nueva York, siguiendo la designación histórica en el año 2001 del Steinway Hall como «un monumento atemporal a la música y la arquitectura clásica». El 111 West 57th Street conserva delicadamente este interior emblemático y, gracias a los famosos especialistas en diseño de interiores de Studio Sofield, se basa en su inspiración atemporal para las nuevas instalaciones y los espacios del vestíbulo. El histórico Steinway Hall cuenta con detalles cuidadosamente examinados, desde enyesados y carpintería de calidad hasta una innovadora estructura de acero, todo esto con la finalidad de hacer que sus grandiosos interiores sean sobresalientes. Hoy en día esos detalles, junto con enormes muros de mampostería y pisos profundos que a menudo abarcan todo el ancho del edificio, se están introduciendo en la torre, a fin de crear activos extraordinarios para ambientes lujosos, tranquilos y flexibles, los cuales ofrecen una vida elegante. La rotonda en Steinway Hall. STUDIO SOFIELD: DISEÑADOR DE INTERIORES TODAY'S — Studio Sofield, dirigido por el director William Sofield, es una firma de diseño con la reputación de tener un enfoque de diseño reflexivo y multidisciplinario que se caracteriza por trabajar en base a las necesidades, ya que no solo se centra en la ubicación del proyecto sino también en las necesidades únicas del cliente. Con un importante grupo de trabajo que abarca proyectos residenciales privados y comerciales desde Nueva York hasta Londres y espacios minoristas en todo el mundo para marcas como Harry Winston, Tom Ford y Ferragamo, entre otros, Studio Sofield crea espacios diseñados para vivir tan bien como se ven. Todos los proyectos de Sofield están impregnados de un lujo moderado en el diseño gracias a la elección de los materiales y de la artesanía, así como también al proceso de descubrimiento donde los clientes descifran su propio concepto de lujo. En el 111 West 57th Street, William Sofield ha incorporado esta filosofía junto a su formación historicista para desarrollar una respuesta considerada y contemporánea al cambiante horizonte de la ciudad de Nueva York. En sentido horario desde la parte superior izquierda: Residencia privada en la ciudad de Nueva York, Residencia privada en la ciudad de Nueva York, Gracie Square Maisonette, Gucci en Beverly Hills, Torre residencial en East 79th Street. COLABORACIÓN — La historia del afinamiento en el Steinway Hall continúa hoy en la combinación del edificio emblemático con una nueva torre de SHoP Architects: un rascacielos fuerte pero esbelto que cuenta con terracota, bronce y vidrio hechos a la medida. La torre asciende la historia al emblemático horizonte de Manhattan y adapta los diseños clásicos originarios de antes de la guerra del Steinway Hall a residencias llenas de personalidad. Los interiores de Studio Sofield combinan la inspiración histórica con una comodidad y elegancia progresista. Con toda la artesanía y el rigor de un gran instrumento musical, el 111 West 57th Street combina poderosamente lo viejo con lo nuevo, el lujo con la tecnología y el contenido con el estilo. Entrada por 57th Street. Representación del artista. «De todas las torres nuevas, esta es la única que se vuelve aún más delicada a medida de que se eleva, la cual no termina con una corona climática sino que casi desaparece en el cielo». — Paul Goldberger, Vanity Fair Fachada hacia el este. Representación del artista. «Es prácticamente caligráfico, destellará en el horizonte gracias a su exuberante exterior acabado en terracota y bronce». — Justin Davidson, revista New York Fachada hacia el oeste. Representación del artista. Sala de llegadas y vestíbulo — Entrada de coches privada en 58th Street. Representación del artista. ENTRADA DE COCHES PRIVADA — El 111 West 57th Street establece un • Lamparas personalizadas con tonos de estilo de vida de lujo, con una entrada bronce elegante y segura que presenta una rara • Adoquines de granito gris rústico y privada entrada de coches, a la cual se accede desde la calle 58. • Puertas de rejas intrincadas inspiradas en la filigrana de bronce del exterior del edificio Representación del artista. ENTRADA EN 58TH STREET (izquierda) y SALA OVAL SUR (arriba) — Representaciones del artista.
Recommended publications
  • A – SMOKE and MIRRORS (The United Nations Building to Grand

    A – SMOKE and MIRRORS (The United Nations Building to Grand

    SMOKE AND MIRRORS (The United Nations to Grand Central Station) ____________________________________________ At the edge of the world sits a Tower. And this Tower is no structure of brick and mortar, but a kind of illusion; a trick of the light, flickering electric blue in and out of sight; a coalescing of vapors; of misplaced goodwill. The kings and queens of the world attend here, pronouncing PEACE, while raining armaments on those of their own, or those of their own they believe to be not. But still the pilgrims come in the thousands from the Terminal seeking an audience, uninformed or disregarding of this Congregation’s inadequacy. Through miles of devastated landscape they come with their fragile appeals in their hands, towards the Tower shimmering like a mirage in the distance; and the mediaeval brick city-fortress that guards its flanks. Around them, light and shadow play upon pillars of glass and steel, reflected one upon the other so reality is indiscernible from reflection; so the pilgrim, his eyes confused and diverted, does not realise that there is in fact, nothing behind the smoke and mirrors; that this entire landscape of grandiose ideals is insubstantial. Ting 8 1 – The United Nations Secretariat Tower, completed in 1952 and designed by an international committee of architects, including Le Corbusier, Oscar Niemeyer, amongst others. Ting 9 2 – Isaiah 2:4, on the Scharansky steps, named after a Soviet dissident, and part of the Ralphe Bunche Park. This park is across from the UN complex. 3 – Channelling Hampton Court: Tudor City, a luxury residential project built between 1925-28, by the Fred F.
  • Old Buildings, New Views Recent Renovations Around Town Have Uncovered Views of Manhattan That Had Been Hiding in Plain Sight

    Old Buildings, New Views Recent Renovations Around Town Have Uncovered Views of Manhattan That Had Been Hiding in Plain Sight

    The New York Times: Real Estate May 7, 2021 Old Buildings, New Views Recent renovations around town have uncovered views of Manhattan that had been hiding in plain sight. By Caroline Biggs Impressions: 43,264,806 While New York City’s skyline is ever changing, some recent construction and additions to historic buildings across the city have revealed some formerly hidden, but spectacular, views to the world. These views range from close-up looks at architectural details that previously might have been visible only to a select few, to bird’s-eye views of towers and cupolas that until The New York Times: Real Estate May 7, 2021 recently could only be viewed from the street. They provide a novel way to see parts of Manhattan and shine a spotlight on design elements that have largely been hiding in plain sight. The structures include office buildings that have created new residential spaces, like the Woolworth Building in Lower Manhattan; historic buildings that have had towers added or converted to create luxury housing, like Steinway Hall on West 57th Street and the Waldorf Astoria New York; and brand-new condo towers that allow interesting new vantages of nearby landmarks. “Through the first decades of the 20th century, architects generally had the belief that the entire building should be designed, from sidewalk to summit,” said Carol Willis, an architectural historian and founder and director of the Skyscraper Museum. “Elaborate ornament was an integral part of both architectural design and the practice of building industry.” In the examples that we share with you below, some of this lofty ornamentation is now available for view thanks to new residential developments that have recently come to market.
  • Page Numbers in Italics Refer to Illustrations. Abenad

    Page Numbers in Italics Refer to Illustrations. Abenad

    INDEX Page numbers in italics refer to illustrations. Abenad Corporation, 42 Ballard, William F. R., 247, 252, 270 Abrams, Charles, 191 Barnes, Edward Larabee, 139, 144 Acker, Ed, 359 Barnett, Jonathan, 277 Action Group for Better Architecture in New Bauen + Wohnen, 266 York (AGBANY), 326–327 Beaux-Arts architecture, xiv, 35, 76, 255, 256, Airline industry, xiv, 22, 26, 32, 128, 311, 314, 289, 331, 333, 339, 344, 371. See also 346, 357–360, 361–362, 386 Grand Central Terminal Albers, Josef, 142–143, 153, 228, 296, 354, Belle, John (Beyer Blinder Belle Architects), 407n156 354 American Institute of Architects (AIA), 3, 35, Belluschi, Pietro, 70–77, 71, 80, 223, 237, 328 75, 262, 282, 337 AIA Gold Medal, 277, 281 Conference on Ugliness, 178–179 and the Architectural Record, 188, 190, 233, New York Chapter, 2, 157 235, 277 American Institute of Planners, 157 and art work, Pan Am Building, 141–144 Andrews, Wayne, 175–176, 248, 370 as co-designer of the Pan Am Building, xiii, 2, “Anti-Uglies,” 177, 327 50, 59, 77, 84, 87, 117, 156–157, 159, 160– “Apollo in the democracy” (concept), 67–69, 163, 165, 173, 212, 248, 269, 275, 304, 353, 159. See also Gropius, Walter 376 (see also Gropius/Belluschi/Roth collab- Apollo in the Democracy (book), 294–295. See oration) also Gropius, Walter on collaboration of art and architecture, 142– Collins review of, 294–295 143 Architectural criticism, xiv, xvi, 53, 56, 58, 227, collaboration with Gropius, 72, 75, 104, 282, 232, 257, 384–385, 396n85. See also 397n119 Huxtable, Ada Louise contract with Wolfson, 60–61,
  • Landmarks Preservation Commission April 18, 2006, Designation List 372 LP-2185

    Landmarks Preservation Commission April 18, 2006, Designation List 372 LP-2185

    Landmarks Preservation Commission April 18, 2006, Designation List 372 LP-2185 STEWART & COMPANY BUILDING, 402-404 Fifth Avenue (aka 2 West 37th Street), Manhattan. Built 1914; [Whitney] Warren & [Charles D.] Wetmore, architects; George A. Fuller Co., builders; New York Architectural Terra Cotta Company, terra cotta manufacturer. Landmark Site: Borough of Manhattan Tax Map Block 838, Lot. 48 On October 18, 2005, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of Stewart & Company building and the proposed designation of the related Landmark Site (Item No. 2). The hearing had been duly advertised in accordance with the provision of law. Three people spoke in favor of designation, including representatives of the property’s owners. In addition, the Commission received two letters in support of designation. Summary The Stewart & Company Building, designed by Warren and Wetmore, is one of the firm’s most unusual designs. The 1914 building reflects the unusual combination of diverse influences such as the 18th century British neo-Classical movement and the late 19th century Chicago School of Architecture style. The blue and white ornament of the terra cotta cladding is reminiscent of the 18th century neo-Classical movement in England, and specifically two of the most important proponents of the movement, Josiah Wedgwood and Robert Adam. Characteristic of the Chicago style are steel frame construction, masonry cladding that was usually terra cotta, large areas of glazing, usually featuring tripartite windows known as Chicago windows, and a tripartite vertical design. As the commercial center of Manhattan moved uptown so did the location of department stores.
  • National Register of Historic Places Inventory -- Nomination Form

    National Register of Historic Places Inventory -- Nomination Form

    Form No. 10-300 (Rev. 10-74) UNITED STATES DEPARTMEN ,. JF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS I NAME HISTORIC Grand Central Terminal AND/OR COMMON Grand Central Terminal LOCATION STREETS,NUMBER 71-105 East 42nd Street _NOT FOR PUBLICATION CITY. TOWN CONGRESSIONAL DISTRICT New York _ VICINITY OF 18th STATE CODE COUNTY CODE New York New York 36 QCLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE _DISTRICT —PUBLIC X2DCCUPIED —AGRICULTURE —MUSEUM 2^BUILDING(S) ^PRIVATE _ UNOCCUPIED X.COMMERCIAL _PARK —STRUCTURE —BOTH —WORK IN PROGRESS —EDUCATIONAL —PRIVATE RESIDENCE _S!TE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS _ OBJECT _IN PROCESS —YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED X_YES: UNRESTRICTED —INDUSTRIAL ^-TRANSPORTATION _NO _ MILITARY —OTHER: OWNER OF PROPERTY NAME Pennsylvania Central Transportation Company STREET & NUMBER 466 Lexington Avenue CITY. TOWN STATE New York VICINITY OF New York LOCATION OF LEGAL DESCRIPTION COURTHOUSE, New York County Hall of Records REGISTRY OF DEEDS, ETC. STREET& NUMBER 31 Chambers Street CITY, TOWN STATE New York New York REPRESENTATION IN EXISTING SURVEYS TITLE New York City Landmarks Commission DATE 1967 —FEDERAL —STATE —COUNTY x_LOCAL DEPOSITORY FOR SURVEY RECORDS CITY, TOWN STATE New York New Yn-rlf DESCRIPTION CONDITION CHECK ONE CHECK ONE _EXCELLENT —DETERIORATED —UNALTERED ^-ORIGINAL SITE X_GOOD —RUINS X_ALTERED _MOVED DATE- _FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE A complete contemporary description would be lengthy—in the brief: "The terminal has two levels. The upper one of these, 20 ft.
  • M Grand Central Post Office Annex Southwest Corner 45Th Street and -. Lexington Avenue New York City New York HABS No. NY-6302 I

    M Grand Central Post Office Annex Southwest Corner 45Th Street and -. Lexington Avenue New York City New York HABS No. NY-6302 I

    Grand Central Post Office Annex HABS No. NY-6302 m Southwest corner 45th Street and -. Lexington Avenue New York City New York C ip ; PHOTOGRAPHS • WRITTEN HISTORICAL AND DESCRIPTIVE DATA HISTORIC AMERICAN BUILDINGS SURVEY MID-ATLANTIC REGION, NATIONAL PARK SERVICE DEPARTMENT OF THE INTERIOR PHILADELPHIA, PENNSYLVANIA 19106 *" HISTORIC AMERICAN BUILDINGS SURVEY GRAND CENTRAL POST OFFICE ANNEX HABS No. NY-6302 Location: The block bounded by 45th Street, Lexington Avenue, Depew Place, and the Graybar Building (the southwest corner of 45th Street and Lexington Avenue), New York City, New York. USGS Central Park Quadrangle, Universal Transverse Mercator Coordinates: 18 .586450 .441166 Present Owner: United States Government Present Occupant: United States Post Office Significance The Grand Central Post Office Annex was envisioned as a key element of the Grand Central Station complex, one of the most important examples of monumental urban planning in the United States. Designed by the nationally significant architectural firm of Warren and Wetmore, in collaboration with the firm of Reed and Stem, the complex was built between 1903 and 1914 for a railroad cartel headed by the mighty New York Central Railroad. It included the massive Terminal itself, surrounded by raised traffic viaduct, the Post Office Annex, railroad offices on 45th Street, and a vast underground network of tracks and platforms. The breadth of the project and the richness of its execution documents not only the tremen- dous wealth of the railroads during the period, but also their influence in shaping the image of American cities. The Annex was constructed as part of the complex to provide railroad-related office space on the upper floors while the lower stories were leased as a postal facility.
  • UCLA Electronic Theses and Dissertations

    UCLA Electronic Theses and Dissertations

    UCLA UCLA Electronic Theses and Dissertations Title Conditions of the Hong Kong Section: Spatial History and Regulatory Environment of Vertically Integrated Developments Permalink https://escholarship.org/uc/item/43t4721n Author Tan, Zheng Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Conditions of the Hong Kong Section: Spatial History and Regulatory Environment of Vertically Integrated Developments A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Zheng Tan 2014 © Copyright by Zheng Tan 2014 ABSTRACT OF THE DISSERTATION Conditions of the Hong Kong Section: Spatial History and Regulatory Environment of Vertically Integrated Developments by Zheng Tan Doctor of Philosophy in Architecture University of California, Los Angeles, 2014 Professor Dana Cuff, Chair This dissertation explores the urbanism of Hong Kong between 1967 and 1997, tracing the history of Hong Kong’s vertically integrated developments. It inquires into a Hong Kong myth: How can minimum state intervention gather social resources to build collective urban form? Roughly around the MacLehose Era, Hong Kong began to consciously assume a new vertical order in urban restructuring in order to address the issue of over-crowding and social unrest. British modernist planning provided rich approaches and visions which were borrowed by Hong Kong to achieve its own planning goals. The new town plan and infrastructural development ii transformed Hong Kong from a colonial city concentrated on the Victoria Harbor to a multi-nucleated metropolitan area. The implementation of the R+P development model around 1980 deepened the intermingling between urban infrastructure and superstructure and extended the vertical urbanity to large interior spaces: the shopping centers.
  • The 150 Favorite Pieces of American Architecture

    The 150 Favorite Pieces of American Architecture

    The 150 favorite pieces of American architecture, according to the public poll “America’s Favorite Architecture” conducted by The American Institute of Architects (AIA) and Harris Interactive, are as follows. For more details on the winners, visit www.aia150.org. Rank Building Architect 1 Empire State Building - New York City William Lamb, Shreve, Lamb & Harmon 2 The White House - Washington, D.C. James Hoban 3 Washington National Cathedral - Washington, D.C. George F. Bodley and Henry Vaughan, FAIA 4 Thomas Jefferson Memorial - Washington D.C. John Russell Pope, FAIA 5 Golden Gate Bridge - San Francisco Irving F. Morrow and Gertrude C. Morrow 6 U.S. Capitol - Washington, D.C. William Thornton, Benjamin Henry Latrobe, Charles Bulfinch, Thomas U. Walter FAIA, Montgomery C. Meigs 7 Lincoln Memorial - Washington, D.C. Henry Bacon, FAIA 8 Biltmore Estate (Vanderbilt Residence) - Asheville, NC Richard Morris Hunt, FAIA 9 Chrysler Building - New York City William Van Alen, FAIA 10 Vietnam Veterans Memorial - Washington, D.C. Maya Lin with Cooper-Lecky Partnership 11 St. Patrick’s Cathedral - New York City James Renwick, FAIA 12 Washington Monument - Washington, D.C. Robert Mills 13 Grand Central Station - New York City Reed and Stern; Warren and Wetmore 14 The Gateway Arch - St. Louis Eero Saarinen, FAIA 15 Supreme Court of the United States - Washington, D.C. Cass Gilbert, FAIA 16 St. Regis Hotel - New York City Trowbridge & Livingston 17 Metropolitan Museum of Art – New York City Calvert Vaux, FAIA; McKim, Mead & White; Richard Morris Hunt, FAIA; Kevin Roche, FAIA; John Dinkeloo, FAIA 18 Hotel Del Coronado - San Diego James Reid, FAIA 19 World Trade Center - New York City Minoru Yamasaki, FAIA; Antonio Brittiochi; Emery Roth & Sons 20 Brooklyn Bridge - New York City John Augustus Roebling 21 Philadelphia City Hall - Philadelphia John McArthur Jr., FAIA 22 Bellagio Hotel and Casino - Las Vegas Deruyter Butler; Atlandia Design 23 Cathedral of St.
  • Architecture and Democracy in the Valley of Giants IDEAL DEMOCRATIC STATE Benjamin Evans - 4828445 DEFINITION

    Architecture and Democracy in the Valley of Giants IDEAL DEMOCRATIC STATE Benjamin Evans - 4828445 DEFINITION

    Architecture and Democracy in the Valley of Giants IDEAL DEMOCRATIC STATE Benjamin Evans - 4828445 DEFINITION: THE NURTURING OF DISAGREEMENT THROUGH PROPERLY CONSTRUCTED MATERIAL AND SYMBOLIC SPACES FOR DISSENSUAL PUBLIC ENCOUNTER AND EXCHANGE. CITY FABRIC CITY FABRIC Executive Democracy and the global city A shrinking democracy As sociologist Saskia Sassen describes, New York City is a global Today, democracy is at risk. Italian philosopher Giorgio Agamben 1 CITIZENS city. Along with London, Paris, Tokyo, Shanghai and Beijing to name wrote that “there is a shift form the model of the polis founded on Media Legislature a few, New York’s financial power is enormous. Large international a centre, that is, a public centre or agora, to a new metropolitan SQUARE companies work closely with politicians and mayors because spatialisation that is certainly invested in a process of depoliticisation, their extreme wealth can have a great influence on urban futures. which results in a strange zone where it is impossible to decide According to thinker Wendy Brown, this global capital is “undoing what is private and what is public.”9 The city, or ‘polis’, is changing 2 democracy” . Many have written about the USA’s shrinking from a place of political encounter, disagreement and democratic Judiciary democracy, a consequence of neo-liberalism, of surveillance negotiation to a space overly controlled by private individuals and CITY FABRIC CITY FABRIC capitalism3, of a disassociation between citizen and city-dweller4, policies.10 Esra Akcan, an author and professor at Cornell University its weaknesses and its failures to deliver on urgent matters such states that “many contemporary political philosophers are warning as climate change.5 Most will be familiar with democracy, but this about de-democratisation taking place throughout the world does not mean it is understood.
  • National Register of Historic Places Inventory Nomination Form 4

    National Register of Historic Places Inventory Nomination Form 4

    NPS Form 10-900 OMB No. 1024-OO18 (3-82T Exp. 10-31-84 United States Department of the Interior National Park Service National Register of Historic Places Inventory Nomination Form See instructions in How to Complete National Register Forms Type all entries complete applicable sections 1. Name historic Mayflower Hotel and/or common Mayflower Hotel 2. Location street & number 1127 Connecticut Ave., NW n/a not for publication city, town Washington vicinity of n/a state D . C . code 1 1 county n/a code 001 3. Classification Category Ownership Status Present Use Q/adistrict Il/Jfcublic X occupied ^/^agriculture X building(s) X private n/a unoccupied X commercial park n/astructure H/aboth X work in progress ^^educational vate residence r^site Public Acquisition Accessible ^/^entertainment religious 5/^t)bject n/3|n process - yes: restricted overnment n/ascientific n/sbeing considered yes: unrestricted H/atransportation no ilitary 4. Owner of Property name May-Wash Associates Limited Partnership street & number Suite 900, 1725 BeSales St., NW city, town Washington vicinity of n/a state D.C. 20036 5. Location of Legal Description courthouse, registry of deeds, etc. Office of Recorder of Dearie, TH fit.-rj^-h r>f ^0! street & number 515 33 St., NW city, town Washington state D.C. 20001 6. Representation in Existing Surveys District of Columbia Inventory title of Historic Sites has this property been determined eligible? yes no date February 24, 1983 n/atederal J£- state ^/gounty Historic Preservation Office, D. C. Department of depository for survey records Housing and Community Development____________ city, town Washington state D.C.
  • Brief Biographies of American Architects Who Died Between 1897 and 1947

    Brief Biographies of American Architects Who Died Between 1897 and 1947

    Brief Biographies of American Architects Who Died Between 1897 and 1947 Transcribed from the American Art Annual by Earle G. Shettleworth, Jr., Director, Maine Historic Preservation Commission. Between 1897 and 1947 the American Art Annual and its successor volume Who's Who in American Art included brief obituaries of prominent American artists, sculptors, and architects. During this fifty-year period, the lives of more than twelve-hundred architects were summarized in anywhere from a few lines to several paragraphs. Recognizing the reference value of this information, I have carefully made verbatim transcriptions of these biographical notices, substituting full wording for abbreviations to provide for easier reading. After each entry, I have cited the volume in which the notice appeared and its date. The word "photo" after an architect's name indicates that a picture and copy negative of that individual is on file at the Maine Historic Preservation Commission. While the Art Annual and Who's Who contain few photographs of the architects, the Commission has gathered these from many sources and is pleased to make them available to researchers. The full text of these biographies are ordered alphabetically by surname: A B C D E F G H I J K L M N O P Q R S T U V W Y Z For further information, please contact: Earle G. Shettleworth, Jr., Director Maine Historic Preservation Commission 55 Capitol Street, 65 State House Station Augusta, Maine 04333-0065 Telephone: 207/287-2132 FAX: 207/287-2335 E-Mail: [email protected] AMERICAN ARCHITECTS' BIOGRAPHIES: ABELL, W.
  • Civic Classicism in New York City's Architecture

    Civic Classicism in New York City's Architecture

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Apotheosis of the Public Realm: Civic Classicism in New York City's Architecture Paul Andrija Ranogajec Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/96 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] APOTHEOSIS OF THE PUBLIC REALM: CIVIC CLASSICISM IN NEW YORK CITY’S ARCHITECTURE by PAUL ANDRIJA RANOGAJEC M.A., University of Virginia, 2005 B.Arch., University of Notre Dame, 2003 A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2014 © 2014 PAUL ANDRIJA RANOGAJEC All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Kevin D. Murphy, Chair of Examining Committee Date Claire Bishop, Executive Officer, Ph.D. Program in Art History Rosemarie Haag Bletter Sally Webster Carol Krinsky Supervision Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract Apotheosis of the Public Realm: Civic Classicism in New York City’s Architecture by Paul Andrija Ranogajec Adviser: Kevin D. Murphy In the years around the consolidation of Greater New York in 1898, a renewed interest in republican political theory among progressive liberals coincided with a new kind of civic architecture.