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Harlem, Manhattan, New York City, New York, United States
The St. Nicholas Historic District, consisting of four rows of houses built by David H. King, Jr., appears much the same as it did when it was built, more than 70 years ago, in 1891. Both then and now, it has been a source of pride not only to its own residents, but to all the people living in its vicinity.
These houses are a fine example of Nineteenth Century urban design, influenced by English antecedents. The sense of forethought and consideration in land development seen here is much sought after today, and often today's results arc not as successful. A high degree of architectural continuity is maintained, while taking into consideration even such problems as house service.
This problem is successfully resolved by the use of a main cross alley extending through the block, from avenue to avenue, with two shorter transverse alleys between the streets.
The District, designed by three of the most prominent architectural firms of the day, was one of the most prestigious sections of Harlem and is still considered as such. The fact that these houses have been well maintained through the years is most unusual in New York City. Obviously its reputation as a fashionable area has contributed to the residents' desire to preserve their homes and to their tremendous sense or pride in them.
Harlem Background
In 1658 Peter Stuyvesant named this area we now know as Harlem, Nieuw Haarlem. Up to the middle of the Nineteenth Century this part of Manhattan remained very much the same as it had been in the Seventeenth Century. Farms, and some large estates, comprise most of the land holdings. Many of the most prominent colonial families: the Delanceys, Beekmans, Bleeckers, Rikers, Coldens and Hamiltons had estates in Harlem.
The St. Nicholas Historic District lies within the estate of Cadwallader D. Colden, an early Mayor of New York, whose grandfather was a colonial governor.
In Lloyd Morris' book "Incredible New York" there is an illustration of Commodore Vanderbilt racing horses on Harlem Lane near 137th Street. The Harlem Lane of that day extended up to 168th Street. Morris also notes that when General Grant visited the City at the end of the Civil War, one of his first requests was to be taken out to Harlem Lane.
In 1831, the Harlem Railroad was chartered, and by 1837 it was extended to Harlem changing it from a rural to a suburban community—one of New York's first suburbs. By 1981, the elevated rapid transit lines extended up to 129th Street, and by 1884 to 145th Street. Thus, Harlem had become a vary desirable and fashionable neighborhood by the 'eighties'.
During the last quarter of the Nineteenth Century, with a rise of Harlem as a "convenient" residential suburb, there was great land speculation and a construction fever such as had rarely been seen in New York. It was in this climate of speculative activity that the D. H. King houses were built.
Early History
The property was purchased by D.H. King and in 1891 commissioned the architectural firms of Bruce Price, James Brown Lord, Clarence S. Luce and McKim, Mead & White to design four rows of houses. King was a member of the Knickerbocker Trust and was a well-known builder .
A period of Victorian gentility had led to the creation of the houses which comprise the District. They represented what was possibly the apex of that disastrous spurt of over-investing which occurred at the end of the Nineteenth Century. It is reported that in a society whose working class families paid an average of $10-18 monthly for rent, rents for these dwellings started at just below $60 and ranged somewhere between $900 and $1700 a year.
King wished to erect high-quality housing for well-to-do buyers, who wished to make a sound, profitable investment. Almost prophetic of the principles of today's Landmarks Preservation Commission, he wanted to be able to assure a purchaser that no nuisances could spring up near these buildings and that one need have no fear of a stable, factory, tenement or over-shadowing hotel rising beside his home.
"The interests of each property owner are carefully protected by stipulations against the building of additions or altering any house...." .
Recent History
The building fever that had overtaken Harlem investors came to an abrupt end with the panic of 1904. A wave of selling followed, and owners sold buildings at losses ranging from one-third to two-thirds of their original cost. Many of these buildings had never been inhabited.
Negro realtors, such as Philip A. Payton and John M. Royall, persuaded many property owners to sell or rant their houses to Negroes who wished to move to Harlem. The northward movement of Negro families from the South and immigration from the West Indies were the catalysts which caused the move to uptown Manhattan.
The houses and apartments were by far the best available to Negro families at that time. It is stated in Gilbert Osofsky's "Harlem: The Making of a Ghetto" that Harlem's "name was a symbol of elegance and distinction.... its streets and avenues were broad, well-paved, clean and tree-lined.... its homes were spacious, with the best of modem facilities...."
Finally, by 1919; the D. H. King houses were made available to Negroes and were already being acquired by well established professionals, a few of whom are still living there today. Many of Harlem's most prominent doctors have lived there. L. T. Wright, Surgical Director of Harlem Hospital from 1938-52, lived at 218 West 139th Street.
He was an eminent brain surgeon, and was the only Negro member of the American College of Surgeons at one time. P. M. Hurray, of 200 West 138th Street, was the Dean and Professor of Surgery at Howard University and was one of the first Negroes to be appointed to the staff of a private hospital.
Paul Collins, also of 200 West 138th Street, was a staff member in the Eye Clinic of Harlem Hospital.
In February, 1920, a front page article in the "New York Age" described the move to 260 West 139th Street of William Pickens, a former Dean and Vice-President of Morgan College, Baltimore, Maryland, and an Associate Field Secretary of the NAACP.
Several famous entertainers have also lived in the St. Nicholas Historic District. W. C. Handy, internationally known and considered the father of popular jazz, lived at 232 West 139th Street. Hubie Blake, the musician, lived at 236 West 13 8th Street. Floumay Miller, of 200 West 139th Street, and Noble Sissle, of 264 West 139th Street, were members of the "Shuffle Along Company", extremely successful, which played to a wide range of audiences.
In 1933, Abram Hill, one of the collaborators on the play, "Anna Lucasta", and a founder of the American Negro Theatre, wrote a play about the Historic District, called "On Striver's Row". Popular use of the name "Striver's Row" developed in the 1920's and 30's and indicated the great desirability of living in this two-block area.
Comments on the District
Montgomery Schuyler, in the "Architectural Record" of April-June 1899, praised the King project for "the employment of three architects of the first rank to compete with each other, net on paper, but in actual brick and mortar.... in the most extensive building operation that has been carried out on the West Side."
His only criticism was that "they have supplied but a small fraction of the demand that exists for such dwellings."
style, by respecting each others conventions, by keeping to a uniform cornice line, the architects achieved an unusual unity rarely seen in this City. For this reason the...rows which make up this Historic District arc probably the finest of their kind in any of the five boroughs."
And the Rev. John J. Hicks, pastor of St. Mark's Methodist Church and chairman of the West 139th Street Block Association, testified, "This area should be preserved in our City because it will aid us in keeping capable citizens and adequate indigenous leadership within the community. The present weakness in the inner city is that we have flights to the hinterlands that siphon off respectable and capable citizens and leave the community bereft of neighborhood leadership and respect."
ARCHITECTURE IMPORTANCE
The D. H. King Houses, though the rows vary in design and detail, were planned in order to create a unified, distinct "neighborhood within a neighborhood." The use of uniform block fronts of equal heights provides a strong cohesive element, while individuality of approach prevents the area from succumbing to monotony. The basic simplicity and elegance of the houses supports this dominating sense of quiet refinement.
The unobstructed view of the buildings of New York's City College, high on the heights overlooking St. Nicholas Park, contributes to a feeling of openness surrounding the St. Nicholas Historic District. Builder D. H. King wanted the residents of his houses to benefit from their location on land which was "high, healthful and accessible, swept by the westerly breezes from the Hudson."
The planning of ornamental, wrought-iron gateways for access is likened by Montgomery Schuyler to the cutting of the Gordian Knot of house service. The gateways were at once decorative .and functional. Ostensibly designed to act as entrances to serve the houses at the rear, they also led to attractive hidden accessways for private use by the residents. Circular flower beds and fountains were planned for the intersections of these interior "cross-streets". Agreements were made between King .and the various buyers concerning the privileges of ownership and use of these "streets" at the rear.
The comprehensiveness of King's undertaking involved more than an interest in the sale-ability of his properties. The very scale of the project and the resources available to him, the financing and retaining the services of three well-known architectural firms permitted King to concern himself, to a great degree, with the everyday needs of residents within the area as a whole. The air of exclusiveness that resulted is still highly valued today.
Rows in the District South Side of 139th Street
The houses designed by Janes Brown Lord, on the south side of West 138th Street, are without pretension and are relatively modest in design and detail. They derive from the Georgian tradition and are constructed of red brick with brownstone trim, in exceedingly good taste.
This row is composed of twenty-five houses, and is broken into three major groups, separated by two handsome wrought-iron gateways. Being the shortest block-front of the four, it stops east of Eighth Avenue at 250 West 136th Street. Lord also designed, at the east end, the four adjoining row houses facing Seventh Avenue. Lord's three-story houses, with basement, are the widest houses in the Historic District. The entrances to adjoining houses are adjacent to each other. Of interest, is the use of a common stoop, serving both entrances, with beautiful wrought-iron railings The illusion of a single, wider more elegant house facade is thus created, in lieu of the compartmented effect of narrow houses side by side.
There is a restrained use of detail within the row. This raw house concept evinces an over-all concern with the unity of the facade, which is treated as a. single mass, and the uniformity of the detail serves to create a pleasing rhythm, carrying the eye along the street and maintaining visual interest. The Jajr.es Brown Lord row is reminiscent of the Eighteenth Century English development of the palace facade and in its comprehensiveness reminds us of John Weeds' work in the City of Bath, England.
North Side of 138th Street & South Side of 139th Street
The block located between West 138th Street and West 139th Street and Seventh and Eighth Avenues was the work of architects Bruce Price and Clarence S. Luce. This block was designed in the Georgian style of the Eclectic period. Here, there is a greater reliance on detail than in the Lord houses, and the profusion of decorative elements, and their numerous variations, are most attractive. The use of buff colored brick with Indiana limestone detail acts as a contrast both to the Lord houses to the south, and to the McKim, Mead and White houses to the north.
This complete block of houses, executed in a uniform style of architecture, consists of thirty-five houses along each street. On Eighth Avenue, two apartment houses close the end with entrances on the cross streets.
On Seventh Avenue, there are two groups of five story houses on cither side of the inner accessway. The houses on these two block fronts are narrower than those at the south side of 138th Street, averaging about seventeen feet in width, except for the end houses, Which, ore twenty feet wide.
Although the stoops arc adjacent to each other, serving the adjoining houses, one senses here that they arc distinct, as they run up straight from the street, separated by handrails. The basic street elevation consists of a flush masonry basement, whose entrance is under the front stoop of each house, and three stories of handsome buff colored brick, undefined by any horizontal string course. Instead, the uniformity of the brick work provides a uniform ground to set off decorative motifs. The window sizes vary, and there are several different window treatments.
The first story windows and the narrow ones at the second story have terra cotta splayed lintels with elongated keystones. The wider second story window has a cornice-like lintel above with a semi-circular panel above that. The two third story windows are narrow and have simple lintels with keystones.
The second story of the houses on either side of the handsome iron gateways display an interesting pseudo-Palladian window treatment in terra cotta. Here, a triply divided window is separated by handsome Ionic columns supporting, above its garlanded horizontal lintel, an arch-form above the columns. This arch has alternate voussoirs elongated with a blind tympanum with wreath design within. The triple square-headed windows on the floor above these complement the arched window, at the second story.
An element of movement is added to the row by projecting forward some of the facades of the houses, which are adjacent to each other. This difference in alignment also adds interest and apparent depth to the row. The doorway is slightly recessed and its round arched head has an elongated, console-like keystone the arch springs from Greek-fret motif impost blocks similar to those used for some of the third story windows.
Delicate wrought-iron balconies extend from the base of the full-length first story windows, and similar wrought-iron work is to be found at the top platforms of the stoops and used as handrails for the steps.
A delicate garland pattern is employed in the fascia of the cornice, signalizing the windows below it. A horizontal moulding at the base of the fascia displays a tiny, continuous swag motif. These decorative elements unify the individual, attached buildings as does the overhanging cornice surmounted by a handsome stone balustrade topping the whole.
Distinctive stone quoins delineate the corners of the houses whore breaks in the wall occur.
The diversity of window treatment and the decorative motifs of the cornice ere at-; an interesting variation against the over-all pattern of the windows and doors.
North Side of 139th Street
Finally, there are the houses designed by McKim, Mead and White, situated on the north side of West 139th Street. They represent basically the Italian Renaissance style, which this firm was among the first to absorb, modify, and then transform into that distinctive product of American architecture which we so readily associate with them.
Thirty-two houses, approximately nineteen feet wide, contrast wall with the other houses by their generally darker tone. They are built of handsome dark brown mottled brick. The over-all design of this exceptionally handsome row of houses reminds one of a Sixteenth Century Italian palace. The center house of the block, 233 West 139th Street, acts as a central feature of the raw. Its elegant first floor English Basement, entered at ground floor, is deeply rusticated and is similar to that of all the houses in this row, except that in place of the simple rectangular doorway of the other houses, there is an attractive arcade effect, seen through two rectangular openings on cither side of a round arched doorway. A deeply recessed porch lies behind this arcade, with the doorway set to one side. On Eighth Avenue there is an apartment house, and there are five row houses on Seventh Avenue. The ground floors of the buildings on the avenues have been extensively altered to serve as store fronts.
Most of the residences on the north side of 13 9th Street have a single platform step, with simple railings leading to the entrance doors.
The window arrangement of these houses is very unusual. The first story, in each case, is handsomely rusticated, with simple elongated keystones over each of the two windows and the door, which is set off unsymmetrically to one side. The rest of the facade is of brick, separated by a delicate string course at the third floor sill level. The second story displays two,, narrow side windows on either side of a largo central window, from which an iron railed balcony extends, supported by stone brackets . Above this central window is a medallion with a floral rosette. The medallion acts as a focal print for this window grouping and punctuates the row of houses at regular intervals. The medallion was widely used in Italian Renaissance architecture; an early example was to be found on Brunelleschi's Foundling Hospital, in Florence, 1445 A.D.). The upper portion ofvthe front elevation contains the third and fourth stories exhibiting an unusual wide-eyed appearance with the two windows at each floor set well apart.
The fourth story windows have simple lintels with keystones. The frames of the other windows above the basement are surmounted by small-scale, distinct cornices.
The four houses on either side of the gateways (Nos. 217, 219, 247 and 249 West 139th Street' vary the second story window treatment. Here a round-arched pediment is used, instead of the usual medallion, producing a handsome note of emphasis en these terminal houses. An attractive cornice with modillions crowns the row of houses and unifies the whole composition. The variation in window treatment lends interest and to some extent signalizes the individual units, while brick quoins on the end buildings emphasize the corners and the breaks in the main wall.
- From the 1967 NYCLPC Historic Distric Designation Report
Harlem, Manhattan, New York City, New York, United States
The St. Nicholas Historic District, consisting of four rows of houses built by David H. King, Jr., appears much the same as it did when it was built, more than 70 years ago, in 1891. Both then and now, it has been a source of pride not only to its own residents, but to all the people living in its vicinity.
These houses are a fine example of Nineteenth Century urban design, influenced by English antecedents. The sense of forethought and consideration in land development seen here is much sought after today, and often today's results arc not as successful. A high degree of architectural continuity is maintained, while taking into consideration even such problems as house service.
This problem is successfully resolved by the use of a main cross alley extending through the block, from avenue to avenue, with two shorter transverse alleys between the streets.
The District, designed by three of the most prominent architectural firms of the day, was one of the most prestigious sections of Harlem and is still considered as such. The fact that these houses have been well maintained through the years is most unusual in New York City. Obviously its reputation as a fashionable area has contributed to the residents' desire to preserve their homes and to their tremendous sense or pride in them.
Harlem Background
In 1658 Peter Stuyvesant named this area we now know as Harlem, Nieuw Haarlem. Up to the middle of the Nineteenth Century this part of Manhattan remained very much the same as it had been in the Seventeenth Century. Farms, and some large estates, comprise most of the land holdings. Many of the most prominent colonial families: the Delanceys, Beekmans, Bleeckers, Rikers, Coldens and Hamiltons had estates in Harlem.
The St. Nicholas Historic District lies within the estate of Cadwallader D. Colden, an early Mayor of New York, whose grandfather was a colonial governor.
In Lloyd Morris' book "Incredible New York" there is an illustration of Commodore Vanderbilt racing horses on Harlem Lane near 137th Street. The Harlem Lane of that day extended up to 168th Street. Morris also notes that when General Grant visited the City at the end of the Civil War, one of his first requests was to be taken out to Harlem Lane.
In 1831, the Harlem Railroad was chartered, and by 1837 it was extended to Harlem changing it from a rural to a suburban community—one of New York's first suburbs. By 1981, the elevated rapid transit lines extended up to 129th Street, and by 1884 to 145th Street. Thus, Harlem had become a vary desirable and fashionable neighborhood by the 'eighties'.
During the last quarter of the Nineteenth Century, with a rise of Harlem as a "convenient" residential suburb, there was great land speculation and a construction fever such as had rarely been seen in New York. It was in this climate of speculative activity that the D. H. King houses were built.
Early History
The property was purchased by D.H. King and in 1891 commissioned the architectural firms of Bruce Price, James Brown Lord, Clarence S. Luce and McKim, Mead & White to design four rows of houses. King was a member of the Knickerbocker Trust and was a well-known builder .
A period of Victorian gentility had led to the creation of the houses which comprise the District. They represented what was possibly the apex of that disastrous spurt of over-investing which occurred at the end of the Nineteenth Century. It is reported that in a society whose working class families paid an average of $10-18 monthly for rent, rents for these dwellings started at just below $60 and ranged somewhere between $900 and $1700 a year.
King wished to erect high-quality housing for well-to-do buyers, who wished to make a sound, profitable investment. Almost prophetic of the principles of today's Landmarks Preservation Commission, he wanted to be able to assure a purchaser that no nuisances could spring up near these buildings and that one need have no fear of a stable, factory, tenement or over-shadowing hotel rising beside his home.
"The interests of each property owner are carefully protected by stipulations against the building of additions or altering any house...." .
Recent History
The building fever that had overtaken Harlem investors came to an abrupt end with the panic of 1904. A wave of selling followed, and owners sold buildings at losses ranging from one-third to two-thirds of their original cost. Many of these buildings had never been inhabited.
Negro realtors, such as Philip A. Payton and John M. Royall, persuaded many property owners to sell or rant their houses to Negroes who wished to move to Harlem. The northward movement of Negro families from the South and immigration from the West Indies were the catalysts which caused the move to uptown Manhattan.
The houses and apartments were by far the best available to Negro families at that time. It is stated in Gilbert Osofsky's "Harlem: The Making of a Ghetto" that Harlem's "name was a symbol of elegance and distinction.... its streets and avenues were broad, well-paved, clean and tree-lined.... its homes were spacious, with the best of modem facilities...."
Finally, by 1919; the D. H. King houses were made available to Negroes and were already being acquired by well established professionals, a few of whom are still living there today. Many of Harlem's most prominent doctors have lived there. L. T. Wright, Surgical Director of Harlem Hospital from 1938-52, lived at 218 West 139th Street.
He was an eminent brain surgeon, and was the only Negro member of the American College of Surgeons at one time. P. M. Hurray, of 200 West 138th Street, was the Dean and Professor of Surgery at Howard University and was one of the first Negroes to be appointed to the staff of a private hospital.
Paul Collins, also of 200 West 138th Street, was a staff member in the Eye Clinic of Harlem Hospital.
In February, 1920, a front page article in the "New York Age" described the move to 260 West 139th Street of William Pickens, a former Dean and Vice-President of Morgan College, Baltimore, Maryland, and an Associate Field Secretary of the NAACP.
Several famous entertainers have also lived in the St. Nicholas Historic District. W. C. Handy, internationally known and considered the father of popular jazz, lived at 232 West 139th Street. Hubie Blake, the musician, lived at 236 West 13 8th Street. Floumay Miller, of 200 West 139th Street, and Noble Sissle, of 264 West 139th Street, were members of the "Shuffle Along Company", extremely successful, which played to a wide range of audiences.
In 1933, Abram Hill, one of the collaborators on the play, "Anna Lucasta", and a founder of the American Negro Theatre, wrote a play about the Historic District, called "On Striver's Row". Popular use of the name "Striver's Row" developed in the 1920's and 30's and indicated the great desirability of living in this two-block area.
Comments on the District
Montgomery Schuyler, in the "Architectural Record" of April-June 1899, praised the King project for "the employment of three architects of the first rank to compete with each other, net on paper, but in actual brick and mortar.... in the most extensive building operation that has been carried out on the West Side."
His only criticism was that "they have supplied but a small fraction of the demand that exists for such dwellings."
style, by respecting each others conventions, by keeping to a uniform cornice line, the architects achieved an unusual unity rarely seen in this City. For this reason the...rows which make up this Historic District arc probably the finest of their kind in any of the five boroughs."
And the Rev. John J. Hicks, pastor of St. Mark's Methodist Church and chairman of the West 139th Street Block Association, testified, "This area should be preserved in our City because it will aid us in keeping capable citizens and adequate indigenous leadership within the community. The present weakness in the inner city is that we have flights to the hinterlands that siphon off respectable and capable citizens and leave the community bereft of neighborhood leadership and respect."
ARCHITECTURE IMPORTANCE
The D. H. King Houses, though the rows vary in design and detail, were planned in order to create a unified, distinct "neighborhood within a neighborhood." The use of uniform block fronts of equal heights provides a strong cohesive element, while individuality of approach prevents the area from succumbing to monotony. The basic simplicity and elegance of the houses supports this dominating sense of quiet refinement.
The unobstructed view of the buildings of New York's City College, high on the heights overlooking St. Nicholas Park, contributes to a feeling of openness surrounding the St. Nicholas Historic District. Builder D. H. King wanted the residents of his houses to benefit from their location on land which was "high, healthful and accessible, swept by the westerly breezes from the Hudson."
The planning of ornamental, wrought-iron gateways for access is likened by Montgomery Schuyler to the cutting of the Gordian Knot of house service. The gateways were at once decorative .and functional. Ostensibly designed to act as entrances to serve the houses at the rear, they also led to attractive hidden accessways for private use by the residents. Circular flower beds and fountains were planned for the intersections of these interior "cross-streets". Agreements were made between King .and the various buyers concerning the privileges of ownership and use of these "streets" at the rear.
The comprehensiveness of King's undertaking involved more than an interest in the sale-ability of his properties. The very scale of the project and the resources available to him, the financing and retaining the services of three well-known architectural firms permitted King to concern himself, to a great degree, with the everyday needs of residents within the area as a whole. The air of exclusiveness that resulted is still highly valued today.
Rows in the District South Side of 139th Street
The houses designed by Janes Brown Lord, on the south side of West 138th Street, are without pretension and are relatively modest in design and detail. They derive from the Georgian tradition and are constructed of red brick with brownstone trim, in exceedingly good taste.
This row is composed of twenty-five houses, and is broken into three major groups, separated by two handsome wrought-iron gateways. Being the shortest block-front of the four, it stops east of Eighth Avenue at 250 West 136th Street. Lord also designed, at the east end, the four adjoining row houses facing Seventh Avenue. Lord's three-story houses, with basement, are the widest houses in the Historic District. The entrances to adjoining houses are adjacent to each other. Of interest, is the use of a common stoop, serving both entrances, with beautiful wrought-iron railings The illusion of a single, wider more elegant house facade is thus created, in lieu of the compartmented effect of narrow houses side by side.
There is a restrained use of detail within the row. This raw house concept evinces an over-all concern with the unity of the facade, which is treated as a. single mass, and the uniformity of the detail serves to create a pleasing rhythm, carrying the eye along the street and maintaining visual interest. The Jajr.es Brown Lord row is reminiscent of the Eighteenth Century English development of the palace facade and in its comprehensiveness reminds us of John Weeds' work in the City of Bath, England.
North Side of 138th Street & South Side of 139th Street
The block located between West 138th Street and West 139th Street and Seventh and Eighth Avenues was the work of architects Bruce Price and Clarence S. Luce. This block was designed in the Georgian style of the Eclectic period. Here, there is a greater reliance on detail than in the Lord houses, and the profusion of decorative elements, and their numerous variations, are most attractive. The use of buff colored brick with Indiana limestone detail acts as a contrast both to the Lord houses to the south, and to the McKim, Mead and White houses to the north.
This complete block of houses, executed in a uniform style of architecture, consists of thirty-five houses along each street. On Eighth Avenue, two apartment houses close the end with entrances on the cross streets.
On Seventh Avenue, there are two groups of five story houses on cither side of the inner accessway. The houses on these two block fronts are narrower than those at the south side of 138th Street, averaging about seventeen feet in width, except for the end houses, Which, ore twenty feet wide.
Although the stoops arc adjacent to each other, serving the adjoining houses, one senses here that they arc distinct, as they run up straight from the street, separated by handrails. The basic street elevation consists of a flush masonry basement, whose entrance is under the front stoop of each house, and three stories of handsome buff colored brick, undefined by any horizontal string course. Instead, the uniformity of the brick work provides a uniform ground to set off decorative motifs. The window sizes vary, and there are several different window treatments.
The first story windows and the narrow ones at the second story have terra cotta splayed lintels with elongated keystones. The wider second story window has a cornice-like lintel above with a semi-circular panel above that. The two third story windows are narrow and have simple lintels with keystones.
The second story of the houses on either side of the handsome iron gateways display an interesting pseudo-Palladian window treatment in terra cotta. Here, a triply divided window is separated by handsome Ionic columns supporting, above its garlanded horizontal lintel, an arch-form above the columns. This arch has alternate voussoirs elongated with a blind tympanum with wreath design within. The triple square-headed windows on the floor above these complement the arched window, at the second story.
An element of movement is added to the row by projecting forward some of the facades of the houses, which are adjacent to each other. This difference in alignment also adds interest and apparent depth to the row. The doorway is slightly recessed and its round arched head has an elongated, console-like keystone the arch springs from Greek-fret motif impost blocks similar to those used for some of the third story windows.
Delicate wrought-iron balconies extend from the base of the full-length first story windows, and similar wrought-iron work is to be found at the top platforms of the stoops and used as handrails for the steps.
A delicate garland pattern is employed in the fascia of the cornice, signalizing the windows below it. A horizontal moulding at the base of the fascia displays a tiny, continuous swag motif. These decorative elements unify the individual, attached buildings as does the overhanging cornice surmounted by a handsome stone balustrade topping the whole.
Distinctive stone quoins delineate the corners of the houses whore breaks in the wall occur.
The diversity of window treatment and the decorative motifs of the cornice ere at-; an interesting variation against the over-all pattern of the windows and doors.
North Side of 139th Street
Finally, there are the houses designed by McKim, Mead and White, situated on the north side of West 139th Street. They represent basically the Italian Renaissance style, which this firm was among the first to absorb, modify, and then transform into that distinctive product of American architecture which we so readily associate with them.
Thirty-two houses, approximately nineteen feet wide, contrast wall with the other houses by their generally darker tone. They are built of handsome dark brown mottled brick. The over-all design of this exceptionally handsome row of houses reminds one of a Sixteenth Century Italian palace. The center house of the block, 233 West 139th Street, acts as a central feature of the raw. Its elegant first floor English Basement, entered at ground floor, is deeply rusticated and is similar to that of all the houses in this row, except that in place of the simple rectangular doorway of the other houses, there is an attractive arcade effect, seen through two rectangular openings on cither side of a round arched doorway. A deeply recessed porch lies behind this arcade, with the doorway set to one side. On Eighth Avenue there is an apartment house, and there are five row houses on Seventh Avenue. The ground floors of the buildings on the avenues have been extensively altered to serve as store fronts.
Most of the residences on the north side of 13 9th Street have a single platform step, with simple railings leading to the entrance doors.
The window arrangement of these houses is very unusual. The first story, in each case, is handsomely rusticated, with simple elongated keystones over each of the two windows and the door, which is set off unsymmetrically to one side. The rest of the facade is of brick, separated by a delicate string course at the third floor sill level. The second story displays two,, narrow side windows on either side of a largo central window, from which an iron railed balcony extends, supported by stone brackets . Above this central window is a medallion with a floral rosette. The medallion acts as a focal print for this window grouping and punctuates the row of houses at regular intervals. The medallion was widely used in Italian Renaissance architecture; an early example was to be found on Brunelleschi's Foundling Hospital, in Florence, 1445 A.D.). The upper portion ofvthe front elevation contains the third and fourth stories exhibiting an unusual wide-eyed appearance with the two windows at each floor set well apart.
The fourth story windows have simple lintels with keystones. The frames of the other windows above the basement are surmounted by small-scale, distinct cornices.
The four houses on either side of the gateways (Nos. 217, 219, 247 and 249 West 139th Street' vary the second story window treatment. Here a round-arched pediment is used, instead of the usual medallion, producing a handsome note of emphasis en these terminal houses. An attractive cornice with modillions crowns the row of houses and unifies the whole composition. The variation in window treatment lends interest and to some extent signalizes the individual units, while brick quoins on the end buildings emphasize the corners and the breaks in the main wall.
- From the 1967 NYCLPC Historic Distric Designation Report
The “2018 HLPF Side Event on Shaping Smarter and More Sustainable Cities: Striving for Sustainable Development Goals" held on 12 July 2018 in New York provided a platform to debate the impact of frontier technologies such as artificial intelligence (AI), blockchain, and Internet of Things (IoT) on cities, to present current national and international initiatives such as the United for Smart Sustainable Cities and to discuss the challenges and opportunities faced in shaping smart and sustainable cities at the local level.
© ITU
Once a race horse at the starting gate, always a racehorse at the gate. One of a heard of beautiful retired race horses, rescued from the glue factory to spend out their days in grassy fields. Pretty intelligent, frisky and sociable to those who come by their fence for a few words. View On Black
Strive Masiyiwa, Founder and Chairman of Econet Wireless on #MIGlobal Leaders of Companies that Are Changing the World panel
U.S. Army Cpl. Ronald Face (right) and Spc. Miguel Lopez, both of 2nd Platoon, Lightning Troop, 3rd Squadron, 2d Cavalry Regiment, scan for enemy activity during a training exercise at Pabrade Training Area, Lithuania, Mar. 4, 2015. The exercise was conducted alongside Lithuanian soldiers of 3rd Company, Algirdas Mechanized Infantry Battalion in support of Operation Atlantic Resolve. Operation Atlantic Resolve, led by U.S. Army Europe, strives to assure NATO allies of U.S. commitment and improve interoperability within the region, to include Poland, Latvia, Estonia and Lithuania. (U.S. Army photo by Staff Sgt. Megan Leuck/ released)
On June 3, 2016, Lieutenant Governor Hochul attended the STRIVE Women's Empowerment graduation in New York City.
Strivers' Row was a speculative townhouse development in Harlem that became home to several influential African Americans. Despite being in New York, the development was initially segregated, but famous later residents included musicians Fletcher Henderson and W. C. Handy. The gates lead to a paved courtyard between the rows of houses.
The officers of the student-run Investment Management Group (supervised by Dr. David Myers) are putting on a talk about financial markets for some high school students who are in the Strive Program (website: striveyouth.com/) today - Feb 27th at 5:15PM in the FSL.
CAPE TOWN\SOUTH AFRICA, 05MAY11 - Strive Masiyiwa, Group Executive Chairman, Econet Wireless Group, South Africa, during the Development Partnerships plenary at the World Economic Forum on Africa 2011 held in Cape Town, South Africa, 4-6 May 2011.
Copyright (cc-by-sa) © World Economic Forum (www.weforum.org/Photo Eric Miller emiller@iafrica.com
Striving for zero waste, the San Francisco Green Festival organized multiple resource recovery stations (staffed by volunteers) to help conference-goers determine what items should be diverted to composting, recycling, and trash.
Read posts about the 10th annual SF Green Festival in SF on Innov8Social here:
San Francisco Green Festival, a Photo Essay
6 Things to Know About the Green Festival + 15 Ways to Score a Free Ticket!
Strivers' Row was a speculative townhouse development in Harlem that became home to several influential African Americans. Despite being in New York, the development was initially segregated, but famous later residents included musicians Fletcher Henderson and W. C. Handy. These signs are a nice relic and refer to the former courtyard area between the rows of houses.
“.....; and tho’
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield."
“Ulysses” by Alfred, Lord Tennyson
Harlem, Manhattan, New York City, New York, United States
The St. Nicholas Historic District, consisting of four rows of houses built by David H. King, Jr., appears much the same as it did when it was built, more than 70 years ago, in 1891. Both then and now, it has been a source of pride not only to its own residents, but to all the people living in its vicinity.
These houses are a fine example of Nineteenth Century urban design, influenced by English antecedents. The sense of forethought and consideration in land development seen here is much sought after today, and often today's results arc not as successful. A high degree of architectural continuity is maintained, while taking into consideration even such problems as house service.
This problem is successfully resolved by the use of a main cross alley extending through the block, from avenue to avenue, with two shorter transverse alleys between the streets.
The District, designed by three of the most prominent architectural firms of the day, was one of the most prestigious sections of Harlem and is still considered as such. The fact that these houses have been well maintained through the years is most unusual in New York City. Obviously its reputation as a fashionable area has contributed to the residents' desire to preserve their homes and to their tremendous sense or pride in them.
Harlem Background
In 1658 Peter Stuyvesant named this area we now know as Harlem, Nieuw Haarlem. Up to the middle of the Nineteenth Century this part of Manhattan remained very much the same as it had been in the Seventeenth Century. Farms, and some large estates, comprise most of the land holdings. Many of the most prominent colonial families: the Delanceys, Beekmans, Bleeckers, Rikers, Coldens and Hamiltons had estates in Harlem.
The St. Nicholas Historic District lies within the estate of Cadwallader D. Colden, an early Mayor of New York, whose grandfather was a colonial governor.
In Lloyd Morris' book "Incredible New York" there is an illustration of Commodore Vanderbilt racing horses on Harlem Lane near 137th Street. The Harlem Lane of that day extended up to 168th Street. Morris also notes that when General Grant visited the City at the end of the Civil War, one of his first requests was to be taken out to Harlem Lane.
In 1831, the Harlem Railroad was chartered, and by 1837 it was extended to Harlem changing it from a rural to a suburban community—one of New York's first suburbs. By 1981, the elevated rapid transit lines extended up to 129th Street, and by 1884 to 145th Street. Thus, Harlem had become a vary desirable and fashionable neighborhood by the 'eighties'.
During the last quarter of the Nineteenth Century, with a rise of Harlem as a "convenient" residential suburb, there was great land speculation and a construction fever such as had rarely been seen in New York. It was in this climate of speculative activity that the D. H. King houses were built.
Early History
The property was purchased by D.H. King and in 1891 commissioned the architectural firms of Bruce Price, James Brown Lord, Clarence S. Luce and McKim, Mead & White to design four rows of houses. King was a member of the Knickerbocker Trust and was a well-known builder .
A period of Victorian gentility had led to the creation of the houses which comprise the District. They represented what was possibly the apex of that disastrous spurt of over-investing which occurred at the end of the Nineteenth Century. It is reported that in a society whose working class families paid an average of $10-18 monthly for rent, rents for these dwellings started at just below $60 and ranged somewhere between $900 and $1700 a year.
King wished to erect high-quality housing for well-to-do buyers, who wished to make a sound, profitable investment. Almost prophetic of the principles of today's Landmarks Preservation Commission, he wanted to be able to assure a purchaser that no nuisances could spring up near these buildings and that one need have no fear of a stable, factory, tenement or over-shadowing hotel rising beside his home.
"The interests of each property owner are carefully protected by stipulations against the building of additions or altering any house...." .
Recent History
The building fever that had overtaken Harlem investors came to an abrupt end with the panic of 1904. A wave of selling followed, and owners sold buildings at losses ranging from one-third to two-thirds of their original cost. Many of these buildings had never been inhabited.
Negro realtors, such as Philip A. Payton and John M. Royall, persuaded many property owners to sell or rant their houses to Negroes who wished to move to Harlem. The northward movement of Negro families from the South and immigration from the West Indies were the catalysts which caused the move to uptown Manhattan.
The houses and apartments were by far the best available to Negro families at that time. It is stated in Gilbert Osofsky's "Harlem: The Making of a Ghetto" that Harlem's "name was a symbol of elegance and distinction.... its streets and avenues were broad, well-paved, clean and tree-lined.... its homes were spacious, with the best of modem facilities...."
Finally, by 1919; the D. H. King houses were made available to Negroes and were already being acquired by well established professionals, a few of whom are still living there today. Many of Harlem's most prominent doctors have lived there. L. T. Wright, Surgical Director of Harlem Hospital from 1938-52, lived at 218 West 139th Street.
He was an eminent brain surgeon, and was the only Negro member of the American College of Surgeons at one time. P. M. Hurray, of 200 West 138th Street, was the Dean and Professor of Surgery at Howard University and was one of the first Negroes to be appointed to the staff of a private hospital.
Paul Collins, also of 200 West 138th Street, was a staff member in the Eye Clinic of Harlem Hospital.
In February, 1920, a front page article in the "New York Age" described the move to 260 West 139th Street of William Pickens, a former Dean and Vice-President of Morgan College, Baltimore, Maryland, and an Associate Field Secretary of the NAACP.
Several famous entertainers have also lived in the St. Nicholas Historic District. W. C. Handy, internationally known and considered the father of popular jazz, lived at 232 West 139th Street. Hubie Blake, the musician, lived at 236 West 13 8th Street. Floumay Miller, of 200 West 139th Street, and Noble Sissle, of 264 West 139th Street, were members of the "Shuffle Along Company", extremely successful, which played to a wide range of audiences.
In 1933, Abram Hill, one of the collaborators on the play, "Anna Lucasta", and a founder of the American Negro Theatre, wrote a play about the Historic District, called "On Striver's Row". Popular use of the name "Striver's Row" developed in the 1920's and 30's and indicated the great desirability of living in this two-block area.
Comments on the District
Montgomery Schuyler, in the "Architectural Record" of April-June 1899, praised the King project for "the employment of three architects of the first rank to compete with each other, net on paper, but in actual brick and mortar.... in the most extensive building operation that has been carried out on the West Side."
His only criticism was that "they have supplied but a small fraction of the demand that exists for such dwellings."
style, by respecting each others conventions, by keeping to a uniform cornice line, the architects achieved an unusual unity rarely seen in this City. For this reason the...rows which make up this Historic District arc probably the finest of their kind in any of the five boroughs."
And the Rev. John J. Hicks, pastor of St. Mark's Methodist Church and chairman of the West 139th Street Block Association, testified, "This area should be preserved in our City because it will aid us in keeping capable citizens and adequate indigenous leadership within the community. The present weakness in the inner city is that we have flights to the hinterlands that siphon off respectable and capable citizens and leave the community bereft of neighborhood leadership and respect."
ARCHITECTURE IMPORTANCE
The D. H. King Houses, though the rows vary in design and detail, were planned in order to create a unified, distinct "neighborhood within a neighborhood." The use of uniform block fronts of equal heights provides a strong cohesive element, while individuality of approach prevents the area from succumbing to monotony. The basic simplicity and elegance of the houses supports this dominating sense of quiet refinement.
The unobstructed view of the buildings of New York's City College, high on the heights overlooking St. Nicholas Park, contributes to a feeling of openness surrounding the St. Nicholas Historic District. Builder D. H. King wanted the residents of his houses to benefit from their location on land which was "high, healthful and accessible, swept by the westerly breezes from the Hudson."
The planning of ornamental, wrought-iron gateways for access is likened by Montgomery Schuyler to the cutting of the Gordian Knot of house service. The gateways were at once decorative .and functional. Ostensibly designed to act as entrances to serve the houses at the rear, they also led to attractive hidden accessways for private use by the residents. Circular flower beds and fountains were planned for the intersections of these interior "cross-streets". Agreements were made between King .and the various buyers concerning the privileges of ownership and use of these "streets" at the rear.
The comprehensiveness of King's undertaking involved more than an interest in the sale-ability of his properties. The very scale of the project and the resources available to him, the financing and retaining the services of three well-known architectural firms permitted King to concern himself, to a great degree, with the everyday needs of residents within the area as a whole. The air of exclusiveness that resulted is still highly valued today.
Rows in the District South Side of 139th Street
The houses designed by Janes Brown Lord, on the south side of West 138th Street, are without pretension and are relatively modest in design and detail. They derive from the Georgian tradition and are constructed of red brick with brownstone trim, in exceedingly good taste.
This row is composed of twenty-five houses, and is broken into three major groups, separated by two handsome wrought-iron gateways. Being the shortest block-front of the four, it stops east of Eighth Avenue at 250 West 136th Street. Lord also designed, at the east end, the four adjoining row houses facing Seventh Avenue. Lord's three-story houses, with basement, are the widest houses in the Historic District. The entrances to adjoining houses are adjacent to each other. Of interest, is the use of a common stoop, serving both entrances, with beautiful wrought-iron railings The illusion of a single, wider more elegant house facade is thus created, in lieu of the compartmented effect of narrow houses side by side.
There is a restrained use of detail within the row. This raw house concept evinces an over-all concern with the unity of the facade, which is treated as a. single mass, and the uniformity of the detail serves to create a pleasing rhythm, carrying the eye along the street and maintaining visual interest. The Jajr.es Brown Lord row is reminiscent of the Eighteenth Century English development of the palace facade and in its comprehensiveness reminds us of John Weeds' work in the City of Bath, England.
North Side of 138th Street & South Side of 139th Street
The block located between West 138th Street and West 139th Street and Seventh and Eighth Avenues was the work of architects Bruce Price and Clarence S. Luce. This block was designed in the Georgian style of the Eclectic period. Here, there is a greater reliance on detail than in the Lord houses, and the profusion of decorative elements, and their numerous variations, are most attractive. The use of buff colored brick with Indiana limestone detail acts as a contrast both to the Lord houses to the south, and to the McKim, Mead and White houses to the north.
This complete block of houses, executed in a uniform style of architecture, consists of thirty-five houses along each street. On Eighth Avenue, two apartment houses close the end with entrances on the cross streets.
On Seventh Avenue, there are two groups of five story houses on cither side of the inner accessway. The houses on these two block fronts are narrower than those at the south side of 138th Street, averaging about seventeen feet in width, except for the end houses, Which, ore twenty feet wide.
Although the stoops arc adjacent to each other, serving the adjoining houses, one senses here that they arc distinct, as they run up straight from the street, separated by handrails. The basic street elevation consists of a flush masonry basement, whose entrance is under the front stoop of each house, and three stories of handsome buff colored brick, undefined by any horizontal string course. Instead, the uniformity of the brick work provides a uniform ground to set off decorative motifs. The window sizes vary, and there are several different window treatments.
The first story windows and the narrow ones at the second story have terra cotta splayed lintels with elongated keystones. The wider second story window has a cornice-like lintel above with a semi-circular panel above that. The two third story windows are narrow and have simple lintels with keystones.
The second story of the houses on either side of the handsome iron gateways display an interesting pseudo-Palladian window treatment in terra cotta. Here, a triply divided window is separated by handsome Ionic columns supporting, above its garlanded horizontal lintel, an arch-form above the columns. This arch has alternate voussoirs elongated with a blind tympanum with wreath design within. The triple square-headed windows on the floor above these complement the arched window, at the second story.
An element of movement is added to the row by projecting forward some of the facades of the houses, which are adjacent to each other. This difference in alignment also adds interest and apparent depth to the row. The doorway is slightly recessed and its round arched head has an elongated, console-like keystone the arch springs from Greek-fret motif impost blocks similar to those used for some of the third story windows.
Delicate wrought-iron balconies extend from the base of the full-length first story windows, and similar wrought-iron work is to be found at the top platforms of the stoops and used as handrails for the steps.
A delicate garland pattern is employed in the fascia of the cornice, signalizing the windows below it. A horizontal moulding at the base of the fascia displays a tiny, continuous swag motif. These decorative elements unify the individual, attached buildings as does the overhanging cornice surmounted by a handsome stone balustrade topping the whole.
Distinctive stone quoins delineate the corners of the houses whore breaks in the wall occur.
The diversity of window treatment and the decorative motifs of the cornice ere at-; an interesting variation against the over-all pattern of the windows and doors.
North Side of 139th Street
Finally, there are the houses designed by McKim, Mead and White, situated on the north side of West 139th Street. They represent basically the Italian Renaissance style, which this firm was among the first to absorb, modify, and then transform into that distinctive product of American architecture which we so readily associate with them.
Thirty-two houses, approximately nineteen feet wide, contrast wall with the other houses by their generally darker tone. They are built of handsome dark brown mottled brick. The over-all design of this exceptionally handsome row of houses reminds one of a Sixteenth Century Italian palace. The center house of the block, 233 West 139th Street, acts as a central feature of the raw. Its elegant first floor English Basement, entered at ground floor, is deeply rusticated and is similar to that of all the houses in this row, except that in place of the simple rectangular doorway of the other houses, there is an attractive arcade effect, seen through two rectangular openings on cither side of a round arched doorway. A deeply recessed porch lies behind this arcade, with the doorway set to one side. On Eighth Avenue there is an apartment house, and there are five row houses on Seventh Avenue. The ground floors of the buildings on the avenues have been extensively altered to serve as store fronts.
Most of the residences on the north side of 13 9th Street have a single platform step, with simple railings leading to the entrance doors.
The window arrangement of these houses is very unusual. The first story, in each case, is handsomely rusticated, with simple elongated keystones over each of the two windows and the door, which is set off unsymmetrically to one side. The rest of the facade is of brick, separated by a delicate string course at the third floor sill level. The second story displays two,, narrow side windows on either side of a largo central window, from which an iron railed balcony extends, supported by stone brackets . Above this central window is a medallion with a floral rosette. The medallion acts as a focal print for this window grouping and punctuates the row of houses at regular intervals. The medallion was widely used in Italian Renaissance architecture; an early example was to be found on Brunelleschi's Foundling Hospital, in Florence, 1445 A.D.). The upper portion ofvthe front elevation contains the third and fourth stories exhibiting an unusual wide-eyed appearance with the two windows at each floor set well apart.
The fourth story windows have simple lintels with keystones. The frames of the other windows above the basement are surmounted by small-scale, distinct cornices.
The four houses on either side of the gateways (Nos. 217, 219, 247 and 249 West 139th Street' vary the second story window treatment. Here a round-arched pediment is used, instead of the usual medallion, producing a handsome note of emphasis en these terminal houses. An attractive cornice with modillions crowns the row of houses and unifies the whole composition. The variation in window treatment lends interest and to some extent signalizes the individual units, while brick quoins on the end buildings emphasize the corners and the breaks in the main wall.
- From the 1967 NYCLPC Historic Distric Designation Report
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New York City Mayor Eric Adams delivers remarks at the annual STRIVE gala. Wednesday, December 16, 2022. Photo Credit: Benny Polatseck/Mayoral Photography Office
Colonial Williamsburg is the historic district of the independent city of Williamsburg, Virginia. It consists of many of the buildings that, from 1699 to 1780, formed colonial Virginia's capital. The capital straddled the boundary of two of the original shires of Virginia, James City Shire (now James City County), and Charles River Shire (now York County). For most of the 18th century, Williamsburg was the center of government, education and culture in the Colony of Virginia.
Colonial Williamsburg is meant to be an interpretation of a Colonial American city, with exhibits including dozens of authentic or accurately-recreated colonial houses and relating to American Revolutionary War history. Prominent buildings in Colonial Williamsburg include the Raleigh Tavern, the Capitol, The Governor's Palace, and Bruton Parish Church. However, rather than simply an effort to preserve antiquity, the combination of extensive restoration and thoughtful recreation of the entire colonial town facilitates envisioning the atmosphere and understanding the ideals of 18th century American revolutionary leaders. It was here that Thomas Jefferson, Patrick Henry, James Monroe, James Madison, George Wythe, Peyton Randolph, and dozens more helped mold democracy in the Commonwealth of Virginia and the United States.
The Historic Area is located just east of the College of William and Mary, founded at Middle Plantation in 1693, just prior to the establishment of the town as capital of Virginia and its renaming. The university's historic Wren Building stands at the west end of Duke of Gloucester Street.
Colonial Williamsburg is a major source of tourism to Williamsburg, as well as a touchstone for many world leaders and heads of state, including U.S. Presidents. The United States hosted the first World Economic Conference at Colonial Williamsburg in 1983. It is the centerpiece of the surrounding Historic Triangle of Virginia area, which has become a popular tourist destination for visitors domestic and foreign. The other two points of the Historic Triangle are Jamestown and Yorktown.
Contents
Early in the 20th century, the restoration and recreation of Colonial Williamsburg, one of the largest historic restorations ever undertaken, was championed by the Reverend Dr. W.A.R. Goodwin and the patriarch of the Rockefeller family, John D. Rockefeller, Jr., along with the active participation of his wife, Abby Aldrich Rockefeller, who wanted to celebrate the patriots and the early history of the United States.
Many of the missing Colonial structures were reconstructed on their original sites during the 1930s. Other structures were restored to the best estimates of how they would have looked during the eighteenth century, with all traces of later buildings and improvements removed. Dependency structures and animals help complete the ambiance. Most buildings are open for tourists to look through, with the exception of several buildings that serve as residences for Colonial Williamsburg employees.
Notable structures include the large Capitol and the Governor's Palace, each carefully recreated and landscaped as closely as possible to original 18th century specifications, as well as Bruton Parish Church and the Raleigh Tavern.
The major goal of the Restoration was not to merely preserve or recreate the physical environment of the colonial period, but to facilitate education about the origins of the idea of America, which was conceived during many decades before the American Revolution.
In this environment, Colonial Williamsburg strives to tell the story of how diverse peoples, having different and sometimes conflicting ambitions, evolved into a society that valued liberty and equality.
New York City Mayor Eric Adams delivers remarks at the annual STRIVE gala. Wednesday, December 16, 2022. Photo Credit: Benny Polatseck/Mayoral Photography Office
Models: STRIVE STAFF!
Graphic Designer: Mike Strive! myspace.com/strive_clothing
Photographer: Johnnylace
I have so many ideas for this project! I want to be more creative, hope I can keep up with this challenge. :)
Three years ago I was just a novice at photography and I strived to take pictures of the attractions and buildings. Since then I've grown a liking to capturing more so the mood and feel of each city I visit. A way of capturing the personality of the city. So I hope you guys enjoy each of the new pictures I upload to my stream. Here's one I took near Nanjing Road. Just a couple of guys relaxing and taking a break.