New Oral History Projects Launched!

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New Oral History Projects Launched! BOARD OF DIRECTORS Anthony C. Wood, Chair Elizabeth R. Jeffe, Vice-Chair Stephen Facey, Treasurer Lisa Ackerman, Secretary Daniel J. Allen Eric Allison Michele H. Bogart Joseph M. Ciccone Susan De Vries Amy Freitag Shirley Ferguson Jenks Otis Pratt Pearsall Duane A. Watson NEWSLETTER SPRING 2012 Welcome to the sixteenth edition of the newsletter of the New York Preservation Archive Project. The mission of the New York Preservation Archive Project is to protect and raise awareness of the narratives of historic preservation in New York. Through public programs, outreach, celebration, and the creation of public access to information, the Archive Project hopes to bring these stories to light. New Oral History Projects Launched! The Archive Project Embarks Upon Ambitious Array of Interviews with Preservation Leaders The New York Preservation Archive Project is from the Robert A. and Elizabeth R. Jeffe range of cultural, historical, and architectural thrilled to announce the launch of our newest Foundation. aspects of the city. Each individual house has oral history initiative, Leading the Movement: * * * a distinctive preservation history and a unique Interviews with Preservationist Leaders in New For the first time in our organization’s history, set of people who ensured its survival, whether York’s Civic Sector. The goal of this project is the Archive Project is teaming up with New they were concerned citizens, directors of civic to record oral histories with 15 key leaders in York University’s Museum Studies Program organizations, or descendents of the houses’ the preservation civic sector, capturing their to produce a series of oral histories focused original inhabitants. Through this new oral unique experiences and perspectives on how on the preservation narratives of selected history project, many of these figures will now preservation in New York City has evolved house museums managed by the Historic be able to share their stories for the first time. over the course of their careers. Participants House Trust (HHT). Students enrolled in * * * include architects, professors, authors, lawyers, the NYU course “Historic Spaces, Cultural Continuing for the fourth year is the Archive community activists, preservation professionals Landscapes, and the Politics of Preservation” Project’s successful collaboration with Pratt and funders, and other civic figures from will collaborate with HHT and the Archive Institute’s Historic Preservation program. As every borough. Paired with our ongoing oral Project to conduct oral histories with a variety in previous years, the Archive Project develops history project with the former chairs of the of figures who have been involved with the a theme for a group of interviews and each Landmarks Preservation Commission, these preservation of five properties throughout student enrolled in the program’s “Public new oral histories will capture information New York City. These properties include the History” course is assigned a preservation and attitudes from within the preservation Wyckoff Farmhouse Museum in Brooklyn, figure who fits within that theme. This year we “infrastructure” and from outside influences, the Lewis H. Latimer House in Queens, Staten have set our sights on preservation advocacy on crafting a nuanced portrait of the field and a Island’s Seguine Mansion, the Morris-Jumel the Upper East Side and East Harlem. With the comprehensive account of the first 47 years of Mansion Museum in Upper Manhattan, and recent anniversaries of neighborhood groups the city’s Landmarks Law. The Archive Project’s the Bronx’s Van Cortlandt House Museum. such as CIVITAS and Friends of the Upper hope is that future historians, preservationists, Located across the five boroughs, these sites East Side Historic Districts, it seems a fitting urbanists, and others interested in the history collectively tell the story of New York City’s time to look back at the undocumented stories of New York City will avail themselves of evolution. From a humble Dutch colonial of individuals associated with preserving the personal accounts of these remarkable farmhouse to a pre-Revolutionary War country this architecturally rich corner of the city. preservation leaders. Leading the Movement: retreat, and a grand Staten Island estate to The Archive Project is eager to capture these Interviews with Preservationist Leaders in New York’s the modest home of an African-American stories, and expose a new group of students to Civic Sector is made possible through funding inventor, these houses chronicle a wide the power of oral histories. Page 1 Mayor Wagner signs the New York City Landmarks Law, Courtesy of Margot Gayle Photo Archive Chairman’s Column: Believe It or Not, It’s Time to Start Planning for the 50th! By Anthony C. Wood, Founder & Chair It seems like it was only yesterday that we were preservation. Both received extensive media Each one represents a vibrant neighborhood celebrating the 45th Anniversary of the passage attention. full of citizens who (despite their occasional of New York City’s Landmarks Law. With the frustrations with the Landmarks Preservation law’s Golden Anniversary not occurring until The 50th Anniversary of the Landmarks Law Commission) are fervent supporters of historic 2015, you might think that there was time creates an opportunity to reach out to all New districts. What would your neighborhood be for a break before beginning to plan for this York and remind them why the citizens of like without its landmark designation? At least truly special opportunity to focus New York’s this city began the fight for the passage of one opponent of historic districts has called for attention on its beloved—yet at times, taken for the law over 50 years ago, and why dozens of the de-designation of some existing districts. granted—Landmarks Law. You would, however, neighborhoods are still clamoring to be added What about organizing and promoting special be wrong. to the city’s roster of historic districts. The walking tours in every district during the 50th anniversary provides a chance to educate New year celebration? How about 105-plus “historic The types of activities and projects needed to Yorkers on preservation’s role as a tool to district” block-parties to celebrate New York’s meaningfully commemorate the law’s Golden advance the livability of our city, by furthering its most distinctive neighborhoods? Should every Anniversary require planning, organization, economic health, promoting its environmental building in every district get a landmark decal funding, and time. Now is the time for sustainability, and securing its sense of place. for its front door window? preservationists and preservation organizations The Golden Anniversary gives us a chance to decide how they will commemorate this to broaden the ranks of preservation while Why doesn’t every neighborhood seeking landmark event. The good news is you still have also reinvigorating a now very “middle-aged” historic district status somehow visually mark time—just not as much as you thought you had! preservation movement. itself? In a 1980 public art piece “Nieuw Amsterdam Shoreline,” the artist Eric Arctander Why is this anniversary so important? Celebrating preservation’s inspiring and painted a simple blue line down the middle of Preservation is such an established part of life instructive history is one way to engage a new the streets of lower Manhattan demarking the in New York City that the general public largely generation of New Yorkers in preservation. original shoreline of Manhattan. What 2015 art assumes that any site of historical, cultural, or New Yorkers need to understand what has been project can dramatically highlight New York architectural importance will be, or already has accomplished over the last 50 years and what City’s unprotected historic neighborhoods? been, protected. However, as preservationists it will take to sustain and advance that success. And/or our existing districts? are too frequently reminded, preservation Preservation’s place in New York needs to be requires constant vigilance and an engaged made manifest. Every landmark in New York Cultural institutions can do their part as public. There is no graver threat to preservation City should be made obvious to passersby. Is it well. What better focal point for the Golden than the apathy of New Yorkers. time to bring back banners and identify every Anniversary than an exhibition exploring the individually designated landmark in our city? first 50 years of the Landmarks Law and its If New Yorkers continue to take preservation Do we need Christo to wrap them? How can role in shaping the future of New York over the for granted, the anti-preservation forces today’s exciting new assortment of technologies next half century? Exciting news on this front will gain traction in their ongoing efforts to be used to help New Yorkers see and appreciate comes from the Museum of the City of New undermine New York City’s ability to manage the history and architecture they experience, and York, which is planning such an exhibition. This change through our Landmarks Law. Make no often take for granted, in their daily lives? can be the centerpiece of a multitude of special mistake, there are still powerful forces who programs and activities hosted by organizations would welcome the demise of preservation. Historic districts are increasingly coming under all across the city, educating New Yorkers about Last year alone witnessed at least one prominent attack by free-market ideologues and the real the importance of preservation in their lives. book, Edward Glaeser’s Triumph of the City, and estate lobby. Isn’t the 50th anniversary of the one attention-getting exhibit, “Cronocaos” by law the ideal time to showcase the city’s 105- The 50th Anniversary is also the perfect time Rem Koolhaas, that unapologetically attacked plus historic districts and 16 district extensions? to publish biographies and monographs on Page 2 some of New York’s great preservationists.
Recommended publications
  • 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.
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  • Biography [PDF]
    NICELLE BEAUCHENE GALLERY RICHARD BOSMAN (b. 1944, Madras, India) Lives and works in Esopus, New York EDUCATION 1971 The New York Studio School, New York, NY 1970 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1969 The Byam Shaw School of Painting and Drawing, London, UK SELECTED SOLO EXHIBITIONS 2019 High Anxiety, Nicelle Beauchene Gallery, New York, NY 2018 Doors, Freddy Gallery, Harris, NY Crazy Cats, Elizabeth Harris Gallery, New York, NY 2015 The Antipodes, William Mora Galleries, Melbourne, Australia Raw Cuts, Cross Contemporary Art, Saugerties, NY 2014 Death and The Sea, Owen James Gallery, Brooklyn, NY Paintings of Modern Life, Carroll and Sons, Boston, MA Some Stories, Elizabeth Harris Gallery, New York, NY 2012 Art History: Fact and Fiction, Carroll and Sons, Boston, MA 2011 Art History: Fact and Fiction, Byrdcliffe Guild, Woodstock, NY 2007 Rough Terrain, Elizabeth Harris Gallery, New York, NY 2005 New Paintings, Bernard Toale Gallery, Boston, MA 2004 Richard Bosman, Elizabeth Harris Gallery, New York, NY Richard Bosman, Mark Moore Gallery, Santa Monica, CA 2003 Richard Bosman, Elizabeth Harris Gallery, New York, NY Just Below the Surface: Current and Early Relief Prints, Solo Impression Inc, New York, NY 1996 Prints by Richard Bosman From the Collection of Wilson Nolen, The Century Association, New York, NY Close to the Surface - The Expressionist Prints of Eduard Munch and Richard Bosman, The Columbus Museum, Columbus, GA 1995 Prints by Richard Bosman, Quartet Editions, Chicago, IL 1994 Richard Bosman: Fragments,
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  • Building Cultures by Designing Buildings: Corporatism, Eero Saarinen, and Thevivian Beaumont Repertory Theater at the Lincoln Center for the Performing Arts
    85TH ACSA ANNUAL MEETING ANDTECHNOLOGY CONFERENCE 457 Building Cultures by Designing Buildings: Corporatism, Eero Saarinen, and theVivian Beaumont Repertory Theater at the Lincoln Center for the Performing Arts WESLEY R. JANZ, AIA Ball State University In 1964, the inaugural production of the Lincoln Center the temporary facility. The second considers the architec- repertory company opened to critical acclaim. The debut of tural intentions of these non-architects as they gave physical Arthur Miller's play After The Fall was "an impressive start" form to the preeminent culture they envisioned. (chapman); one that would "arouse an audience and enrich a season" (Nadel). The cast, which included Faye Dunaway, THE CAMPUS OF THE LINCOLN CENTER FOR Hal Holbrook, and leading man Jason Robards, Jr. was THE PERFORMING ARTS lauded: "no performance was less than compelling," stated Lincoln Center was the focus of the eighteen-block Lincoln Howard Taubman, the theater critic of the New York Times. Square Urban Redevelopment Project on the Upper West The theater, a temporary facility that was designed and Side of New York City. Spearheading the Lincoln Center built under the guidance of co-producing directors Robert component were Coinmissioner Robert Moses, Dwight Whitehead and Elia Kazan, was also praised. The critic John Eisenhower, the President of the United States; Nelson A. McClain termed the playhouse "a quite fabulous structure," Rockefeller, the Governor of the State of New York; and the and Howard Clunnan agreed; "the moment you enter it your third John D. Rockefeller. The Center's unofficial title, the attention is riveted on the stage" (Hyams).
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  • National Register of Historic Places Inventory Nomination Form Date
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  • Download the 2019 Map & Guide
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  • CURRICULA VITAE Name: Richard Scherr Address: 380 Rector Place
    CURRICULA VITAE Name: Richard Scherr Address: 380 Rector Place, #18B New York, N.Y. 10280 Telephone: (212) 786-1632 E-Mail [email protected] EDUCATION Cornell University 9/67 - 5/72 B. Arch. Columbia University 9/72 - 5/73 M.S. Arch. (Spec. in Urban Design) TEACHING AND ADMINISTRATIVE EXPERIENCE June 1999- Director of Facilities Planning and Design, Jan 2014 Pratt Institute May 1999- Adjunct Professor of Architecture and Urban Design, Present Pratt Institute Sept. 1989 - Chairman and Professor, Graduate Programs May 1999* in Architecture and Urban Design, Pratt Institute Sept. 1986 - Professor of Architecture, School of May 1989** Architecture, The University of Texas at Arlington Sept. 1983 - Graduate Advisor, School of May 1986 Architecture, UTA Sept. 1980 - Associate Professor of Architecture May 1986 with Tenure, School of Architecture, UTA Sept 1975 - Assistant Professor, School of May 1980*** Architecture, UTA Sept 1973 - Instructor, Department of Architecture, May 1975 University of Texas at Arlington Sept. 1978 - ***Leave-of-Absence May 1979 Sept. 1987 - ** Leave-of-Absence May 1988 Feb. 1999- *Sabbatical June 1999 AWARDS May 1972 -Eidlitz Travelling Fellowship, Cornell University May 1975 -Organized Research Grant Award, UTA May 1976 -"Teacher of the Year", School of Architecture, UTA May 1976 -AMOCO Teaching Award, UTA (Honorable Mention) May 1977 -Organized Research Grant Award, UTA May 1980 -Organized Research Grant Award, UTA Apr. 1982 -Plaza Hotel Renovation, "Merit Award," Dallas A.I.A. (w/ Woodward & Assoc.) Sept. 1982
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  • Oculus January 1966 New York Chapter the American Institute of Architects
    OCULUS JANUARY 1966 NEW YORK CHAPTER THE AMERICAN INSTITUTE OF ARCHITECTS CHAPTER AND CITY ON STATEN ISLAND: TWO ISSUES In a series of statements to the Consistent with its efforts to im­ the contemporary concepts of urban daily press and through its repre­ plement a major crash program planning." If anything, these hard­ sentatives appearing this past for the planning and development ships underlined the urgent need month before the Mayor, the City of Staten Island, the New York for such a crash program as advo­ Planning Commission, the City Chapter continued to press for a cated by the New York 'chapter. Council, the Board of Estimate and series of immediate emergency the State's Joint Legislative Com­ measures designed to protect prin­ Local Law 820 now pending in mittee on Housing and Urban De­ cipally the Island's open lands from the Council is a new attempt by the velopment, the New York Chapter premature programs such as the City to correct the inadvertent re­ AIA defined the position of its pro­ proposed Richmond Parkway and moval of the mapping requirement fessional membership on four vital from further abuses of speculative when the General City Law was issues currently confronting the developments. Specifically aimed at amended in 1963 at the urging of city. the latter was the Chapter's sup­ Staten Island home builders. Actu­ ally sought by the builders was the 1. In a letter to the New York port of a local law by the City Council to prohibit new construc­ elimination of the street improve­ Times, Chapter President Max Ur­ ment requirement for building per­ hahn continued to press for a mora­ tion on unmapped or unimproved streets.
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  • The Solomon R. Guggenheim Museum 1959 [ 1959]
    landmarks Preservation Commission August 14, 1990; Designation List 226 LP-1774 'IHE SQI.(M)N R. GUGGENHEIM MUSEUM, 1071 Fifth Avenue, Manhattan. Frank Lloyd Wright, Architect. Built 1956-59. landmark Site: Borough of Manhattan Tax Map Block 1500, I.ot 1. On December 12, 1989, the landmarks Preservation Commission held a public hearing on the proposed designation as a landmark of the Guggenheim Museum and the proposed designation of the related landmark Site (Item No. 38). 'lhe hearing had been duly advertised in accordance with the provisions of law. Twenty-seven witnesses, including three representatives of the Solomon R. Guggenheim Foundation and Musemns, spoke in favor of designation. No witnesses spoke in opposition to designation. The Commission has received many letters supporting designation. DFSCRIPI'ION AND ANALYSIS Surmrary The Guggenheim Museum, an internationally recognized building, is one of New York's most architecturally irrportant buildings; located on prestigious Fifth Avenue, it is a link in that thoroughfare's highly regarded ''Museum Mile." Founded by Solomon R. Guggenheim, it is the best known of the many institutions financed by the philanthropy of the Guggenheim family, whose extraordinary wealth and subsequent social prominence were derived primarily from its worldwide mining empire. Inspired and led by the painter and art patron Hilla Rebay, Guggenheim supported many avant-garde painters of "non-objective" art by purchasing their works and, in 1937, establishing a foundation to promote art and education in art and the enlightenment of the public. Rebay eventually convinced him to commission in 1943 America's preeminent architect, Frank Lloyd Wright, to design the museum.
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  • YALE CLUB of NEW YORK CITY BUILDING
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  • Stabilizing the Falling of Fallingwater: a Structural Rehabilitation Proposal for the Master Terrace
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