Amendment to the Landmark Site, Ritz Tower

Landmarks Preservation Commission October 29, 2002, Designation List 340 LP-2118 RITZ TOWER, 465 Park Avenue (aka 461-465 Park Avenue, and 101East5T11 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 hi storian, 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 comer of 57t11 Street and Park A venue, where the exclusive shops and artistic enterprises of 57t11 Street met apartment buildings of ever-increasing height and luxury on Park Avenue. Designed by the inventive and prolific architect Emery Roth, who was responsible for many luxury apartment bui !dings throughout Manhattan, the Ritz Tower was intended to be the ne plus ultra of apartment living. Thomas Hastings, the surviving partner of the prominent architectural firm of Carrere & Hastings helped to create the classically-inspired design. The developer, journalist Arthur Brisbane, hoped to increase the building' s appeal by hiring the Ritz-Carlton Company to manage the building and its restaurants, as well as by lending use of its famous name. Constructed as an apartment hotel, with rooms for transients as well as Jong-term residents, the building provided food service from central kitchens via dumb waiters serving pantries on each floor. The absence of individual kitchens allowed the developer to increase the height of the building since it was then not subject to the height regulations that applied to standard apartment buildings. At the time of its construction, the Ritz Tower was the tallest residential building in New York, with panoramic views in all directions. The lower floors, which are more easily visible from the street, are enriched by highly ~llll!liJ!l!ll!"" sculptural ornament, including putti, urns and rusticated stone. Each setback of the tower is marked by pilasters, pediments and balustrades and is ~ ·· _ . highlighted by large stone fleches which carry the viewer's eye upward along the buildings' s height. The tower, crowned by a pyramidal roof with a tall obelisk, further increases the sense of height which was such an important factor when the building was constructed. Throughout its history, the Ritz Tower has been home to wealthy and well-known residents, as well as famous commercial enterprises, including William Randolph Hearst and •J Marion Davies, Charles of the Ritz House of Beauty, and Le Pavillon, one of America's first authentic, and most influential French restaurants. Photo source: Ruttenbaum, Mansions in the Clouds, 94 DESCRIPTION AND ANALYSIS The Neighborhood1 buildings are designated New York City Landmarks.) The Ritz Tower is located on the comer of East East of Fifth A venue the character of the street 57th Street and Park A venue, two streets that changed to "high-class commercial development."6 epitomized Manhattan's gilded life in the 1920s. After the First World War, the elegant late nineteenth century mansions that centered around Fifth A venue In the golden 1920s the favorite nesting place began to be replaced by office buildings and retail ... was Park A venue, where apartment house stores, such as Warren & Wetmore's Heckscher living reached something like social Building of 1923, the Bergdorf Goodman block in elegance. The vogue for mansions on Fifth 1928, and two buildings by Cross & Cross: the New A venue has passed; but two blocks east there York Trust Company Building of 1930 and the Tiffany had arisen super-apartment houses subject to Store (1940). Between Fifth and Madison Avenues, rigid social selection ... Therefore the "swank" 57th Street had become the commercial center of the set took naturally to Park A venue; and the American art world and the epitome of good taste with "swank" shops followed them uptown.2 its numerous art galleries and antique shops, followed The idea of Park A venue as "the street par slightly later by interior decorators. Exemplars excellence for fashionable apartment houses"3 was included the galleries of dealers such as Joseph quite new in the 1920s. The street was originally a Duveen, M. Knoedler & Company, Parke-Bernet, and noisy and smelly passageway for steam trains in transit Frederick Keppel & Company. The Todhunter to Grand Central Terminal, and therefore considered Company, located in its own unusual building with a liveable only for those who could not afford to go facade reminiscent of medieval England, carried elsewhere. A deadly train accident in 1902 led to a mantels, fire screens and other products associated changeover to electrified trains, a major rebuilding of with the hearth. From Fifth to Madison A venues, 57th the terminal, and an extensive redevelopment of the Street was also the location of a number of exclusive area north of Grand Central. The train tracks were women's specialty shops catering to New York's buried underneath Park A venue, allowing for a broad, wealthiest clientele, including Jay-Thorpe, Milgrim' s landscaped street without steam and smoke, finally and L.P. Hollander & Company. While there were suitable for residential building.4 The development of many elegant residences interspersed with the Park A venue occurred mostly during the second and commercial buildings throughout its length, 57tl' third decades of the twentieth century by which time Street from Third Avenue east to the river became apartment dwelling had become the norm. Since the almost exclusively residential, and even more elite the New York Central Railroad continued to own the farther east one traveled. property north of the Terminal, this organization controlled what was built there. Both sides of Park Developer Arthur Brisbane7 A venue gradually filled with luxury twelve- to twenty In 1925, as New York's economy was expanding story elevator apartment houses, creating solid street and its office towers were rising higher and higher, the walls along the broad thoroughfare. well-known newspaper columnist and editor Arthur Fifty-seventh Street was a particularly wide cross Brisbane began building New York's tallest apartment town street filled with elegant buildings, which came hotel on the comer of Fifty-Seventh Street and Park to be known as New York's "Rue de la Paix."5 West Avenue. Brisbane (1864-1936) was the editor of the of Fifth A venue, the street was dominated by arts New York daily The Evening Journal, and later the affiliated organizations, such as Carnegie Hall (1891, Mirror, part of William Randolph Hearst's widely William B. Tuthill), the American Fine Arts Society read chain of newspapers which spread from coast to building (1891-92, Henry J. Hardenbergh), Steinway coast. 8 Brisbane also wrote an extremely popular Hall (1925, Warren & Wetmore), and the Chalif column "Today," which ran on the front page of all the Normal School of Dancing (1916, G.A. & H. Boehm). Hearst-owned newspapers in the country, while his In addition there were numerous places for artists to other column, "The Week" was carried by 1,200 live and work, including studio apartments such as the newspapers nationwide. At the height of his career, Osborne (1883-85, James E. Ware), those at 130 and Brisbane's ideas were followed avidly throughout 140 West 57th (1907-08, Pollard & Steinam) and the America and he was one of the highest-paid journalists Rodin Studios (1916-17, Cass Gilbert). (All these of his time. 2 Brisbane's father, Albert Brisbane had written a his father when Emery was thirteen and his mother popular column for The New York Tribune for many decided that her son should emigrate alone to years, and influenced his son to choose the same America. With painting and drawing as his hobbies profession. Arthur Brisbane began as a reporter for and no formal training, he found work with an The Sun, later becoming that paper's London architect in Bloomington, Illinois. He spent three correspondent. He worked as managing editor for years there, where he learned the classical orders by several other newspapers before being hired in 1897 copying plates, and worked with a local builder to by William Randolph Hearst for his new newspaper, learn construction as well. Roth eventually accepted The Evening Journal. Brisbane's commentaries were a position as a draftsman with Burnham & Root, extremely popular and helped propel the newspaper to working on the World's Columbian Exposition in having one of the highest circulations in New York Chicago. Roth assisted Jules Harder with the City. Brisbane's columns treated current events, drawings for the celebrated Palace of Fine Arts, and interspersed with "Sociological discussions," on wide drew plans for two other small pavilions. He also ranging topics. "By reducing his column of editorial assisted Richard Morris Hunt with modifications to his comment to the utmost of simplicity in choice of plans for the Administration Building, impressing the words he readily conveyed what he had to say to his architect so much that Hunt promised him a job if he readers."9 ever came to New York.

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