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Day Two.
Stayed the night at a motel in Monterey, which is a nice town. Had a quick look at the place last night/evening.
"Monterey is a city on California’s rugged central coast. Its Cannery Row, one-time centre of the sardine-packing industry, was immortalized by novelist John Steinbeck. Today, it's a popular strip of gift shops, seafood restaurants and bars in converted factories" Wiki.
Heading south now on Route One again to our next motel in San Luis Obispo about 150 miles away.
First stop (not far from Monterey) is Carmel - "Carmel-by-the-Sea is a small beach city on California's Monterey Peninsula. It's known for the museums and library of the historic Carmel Mission, and the fairytale cottages and galleries of its village-like center, a famous place known for its natural scenery and rich artistic history" Wiki.
Back on the road and Route One we headed down and into the bit of coast called Big Sur.
"Big Sur is a rugged and mountainous section of the Central Coast of the U.S. state of California between Carmel Highlands and San Simeon, where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery. Big Sur has been called the "longest and most scenic stretch of undeveloped coastline in the contiguous United States"
It certainly lived up to the description! Amazing place to ride through/along!
Stopped at so many various vista points for pictures and posing etc!
We stopped for lunch at a place called Ragged Point -
"The tiny hamlet of Ragged Point where travellers are welcomed with a hotel, gourmet restaurant, a gas station, wedding facilities, hiking trails and outdoor cafe with an espresso bar. Towering high above the Pacific on a promontory with 400 foot sheer cliffs"
Unfortunately there was quite a bit of sea fret (low cloud) in the area, so our views were limited here..
Lunch was good too.. Met and chatted with another Harley biker on his way to San Diego.
Back on the road and continued down to San Luis Obispo to find our motel..
Once we had landed and sorted ourselves out, we went for a walk down into the town. One of the places we wanted to see was the (in)famous Bubblegum Alley. - "Bubblegum Alley is a tourist attraction in downtown San Luis Obispo, California, known for its accumulation of used bubble gum on the walls of an alley. It is a 15-foot (4.6 m) high and 70-foot (21 m) long alley lined with chewed gum left by passers-by. It covers a stretch of 20 meters in the 700 block of Higuera Street in downtown San Luis Obispo" Wiki.
We bought some food from a takeaway near our motel and ate that back in our room watching telly! Great day seeing so much beautiful coastline on the famous Route One!
Canyonlands National Park in southeastern Utah is known for its dramatic desert landscape carved by the Colorado River. Island in the Sky is a huge, flat-topped mesa with panoramic overlooks. Other notable areas include the towering rock pinnacles known as the Needles, the remote canyons of the Maze and the Native American rock paintings in Horseshoe Canyon. Whitewater rapids flow through Cataract Canyon.
View from Gantry Plaza State Park
East 42nd Street, Midtown Manhattan
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
Afton Canyon's surface water makes it unique in the southern California desert. Known locally as "The Grand Canyon of the Mojave" for its dramatic geological formations, this is the only place where the Mojave River flows above ground year-round - providing significant riparian (riverbank) wildlife habitat amid the desert. Since prehistoric times, the natural bounty created by this water source has made Afton Canyon a focus for living things. Dense willows and cottonwoods shaded the river, and thickets of mesquite produced bean pods for food. The ponds, marshes and streams provided habitat for a wide variety of wildlife species.
Photo by Jesse Pluim, BLM.
The New General Catalogue of Nebulae and Clusters of Stars (abbreviated as NGC) is a catalogue of deep-sky objects compiled by John Louis Emil Dreyer in 1888 as a new version of John Herschel's General Catalogue of Nebulae and Clusters of Stars. The NGC contains 7,840 objects, known as the NGC objects. It is one of the largest comprehensive catalogues, as it includes all types of deep space objects and is not confined to, for example, galaxies. Dreyer also published two supplements to the NGC in 1895 and 1908, known as the Index Catalogues, describing a further 5,386 astronomical objects.
Centaurus A, also known as NGC 5128, is well known for its dramatic dusty lanes of dark material. Hubble’s new observations, using its most advanced instrument, the Wide Field Camera 3, are the most detailed ever made of this galaxy. They have been combined here in a multi-wavelength image which reveals never-before-seen detail in the dusty portion of the galaxy. As well as features in the visible spectrum, this composite shows ultraviolet light, which comes from young stars, and near-infrared light, which lets us glimpse some of the detail otherwise obscured by the dust.
REFORD GARDENS | LES JARDINS DE MÉTIS
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
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Visit : www.refordgardens.com/
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LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
REFORD GARDENS | LES JARDINS DE METIS
MECONOPSIS BETONICIFOLIA
Himalayan flower imported by Elsie Reford in the early 1930s that has since become the floral emblem of the Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Midtown, Manhattan, New York City, New York, United States
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler , one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
Iceland, a Nordic island nation, is defined by its dramatic landscape with volcanoes, geysers, hot springs and lava fields. Massive glaciers are protected in Vatnajökull and Snæfellsjökull national parks. Most of the population lives in the capital, Reykjavik, which runs on geothermal power and is home to the National and Saga museums, tracing Iceland’s Viking history. Iceland is it the most sparsely populated country in Europe.
East 42nd Street, Midtown Manhattan
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
Sangre de Christo mountains.
This bridge in the past has also been known as the “High Bridge and it” hangs 650 feet above the Rio Grande River. This makes it the fifth highest bridge in the United States behind the highest bridge being the Royal Gorge Bridge in Colorado that is 1,053 feet high. However, unlike the tourism only Royal Gorge Bridge this bridge across the Rio Grande actually serves a useful purpose as a busy highway bridge. The bridge was built in 1965 and since then has been featured in a number of movies due to its dramatic profile across this spectacular gorge.
Driving through the Rio Grande Gorge, on the way to Taos.
The road is on an ancient Taos volcanic plateau that forms the 78-mile long Rio Grande Gorge in northern New Mexico.
Scotland baked in the sun today 25/5/2018, with the sun beating down it felt like a day to get out and about, I decided to revisit one of my favourite sites
Dunnottar Castle as it is located
40 minutes drive from my home in Aberdeen,a piper played as visitors and tourists arrived , what a magnificent sight.
I wandered along the base of the castle and enjoyed the bay with its calm waters and great views, after an hour or so it was time to leave and climb the numerous stairs back up the hill to the car park.
Castles History.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
Upper West Side, Manhattan, New York City, New York, United States
The William J. Syms Operating Theater, built 1890-1892, was the most advanced operating theater in the world when it opened and one of the first equipped for aseptic surgery. The result of a collaboration of the architect William Wheeler Smith and the prominent American surgeon Charles McBurney, the building represented the attempt in the 19th century to reconcile architecture with technological advances.
The appearance of the building, subtle and simple in detail but striking in its massing, especially in the form of its semi-conical roof, is expressive of the unusual functional demands of the building, an effort to harmonize the design with the other Roosevelt Hospital buildings, and the well-developed personal style of the architect for medical buildings.
Syms was the fourth of several major pavilions (see below) built as part of the pavilion plan 'of Roosevelt Hospital begun in 18 69, and as such is both part of one of the earliest pavilion plan hospitals in America, and a rare early survivor of a once highly influential approach to hospital design. Syms was the center of medical education in New York City in its early years, and it was the site of numerous advances in surgical practice at a time when modern surgery was taking shape.
Roosevelt Hospital
The Syms Operating Theater was one of a series of pavilions built according to the original pavilion plan of Roosevelt Hospital. The pavilion plan was an important early step, proposed by the French Academy of Sciences in 1788 but not executed until much later, in applying scientific knowledge to the design of hospitals. At first it called for small parallel two-story buildings, called pavilions, set in a symmetrical plan oriented for access to light and air.
Disease and infections were believed to be carried in vapors, odors, dirt, and other "miasms" which were dispelled by light and goo d ventilation. Later, improved lighting and mechanical ventilation systems led to the acceptance of larger pavilion buildings. Syms' location, siting, massing, and exterior detail as well as its institutional history all relate to the original plan for Roosevelt Hospital and to the architecture of its early buildings.
Roosevelt Hospital was established by the bequest of James Henry Roosevelt (1800-1863) who left about $1,000,000 to build a hospital "for the reception and relief of sick and diseased persons."2 Roosevelt Hospital occupies the full block bounded by 58th and 59th Streets and Ninth and Tenth Avenues. Although the land was part of the 1811 Commissioners Plan of Streets, 59th Street was only opened in 1851, and in 1866 when Roosevelt Hospital bought its site the area was still mostly scattered houses and small farms. The trustees of the hospital adopted the pavilion plan in 1866. This was among the earliest in the United States and, as far as is known, the first in New York City.
Although no early plan of the hospital survives, the original intention was to build a series of four parallel pavilions. In the first building campaign (1869-72), the prominent New York architect, Carl Pfeiffer, designed all the major buildings, three pavilions along 59th Street. They were built in the High Victorian Gothic Style with red brick walls and light colored "Ohio Stone" trim, and had lively roof lines. The one-story Surgical Pavilion next to the future site of the Syms Operating Theater was the smallest and most simply detailed of the group. The pavilion plan was largely adhered to in several expansions of the hospital, including a group of buildings designed by W. Wheeler Smith in the 1880s and 1890s, until about 1940.
Surgery, Medical Education, and Operating Theaters
In the 19th century, surgery developed from a remedy of last resort to a common medical procedure, in part due to the introduction of anesthesia in 1847 and to the development of two theories of modern surgery, antiseptic surgery developed by Joseph Lister in 1867, followed by aseptic surgery about 1890. The operating theater was developed in the early 19th century on the model of anatomical theaters which had been the center of medical training since the Renaissance.
In the 1870s, many new operating theaters, including the first one at Roosevelt Hospital, were built for the rapidly growing population of student surgeons. Usually incorporated in larger hospital buildings but occasionally occupying their own pavilions, these were well-ventilated wood rooms, often decorated, amply lit by large windows and gas lamps, which accommodated up to 3 00 observers. The best-known operating theater of this generation was at Johns Hopkins Hospital in Baltimore, built between 1877 and 1885.
These were superseded by a new generation of operating theaters about 189 0 for aseptic surgery, among the very first of which were the McLane Operating Room^ (now demolished), designed in 18 9 0 by W. Wheeler Smith at Roosevelt Hospital for gynecological surgery, and the Syms Operating Theater. These had improved heat and ventilation from mechanical forced air systems, improved lighting from electric lights, and, with the understanding that absolute cleanliness was essential, smooth, impervious materials for all surfaces.
Aseptic operating rooms were bright, clean, hard, undecorated spaces, they were the "high tech" spaces of their day. They utilized the latest technology to produce places suitable for the latest medical practices in a rapidly changing period.
History of Syms Operating Theater
The Syms Operating Theater was built with $3 50,000 left by William J. Syms (1818-89), $250,000 to build the theater and the remainder to be invested as an endowment for its work. Syms expressed in his will the desire to erect an operating theater which would be "an enduring monument to himself" and of "great service to suffering humanity."8
Syms was a partner in the New York firm of Blunt and Syms, for more than 2 5 years the largest gunmaker and dealer in New York. Syms was also a founder of the Metropolitan Gas Company and the Forty-second and Grand Street Railroad Company, and he was President of the Franklin Telegraph Company and Vice-president of the Atlantic and Pacific Telegraph Company. At his death, the Times said that he was' "one of the largest land and house owners" in New York.
Syms stipulated that the surgeon, Dr. Charles McBurney (1845-1913) would have complete charge of the building's design and operation. McBurney was a prominent New York surgeon and professor at the College of Physicians and Surgeons.
In the year before William Syms died, McBurney achieved international recognition for his identification of the diagnostic point on the abdomen for appendicitis, still called "McBurney's Point." In his years at Syms, he described "McBurney's Incision," a method for removing the appendix, and made numerous other well publicized advances in the practice of surgery. Under McBurney, Syms became a world renowned center for surgeons. McBurney had been called when President McKinley was shot because of his long experience in treating such cases at Roosevelt Hospital.
Indeed, McBurney took an active role in the design of the Syms Operating Theater. He made a tour of the most modern operating facilities in Europe and America including "all the large hospitals in England, France, Germany, Austria, and Switzerland" and worked closely with the architect, W. Wheeler Smith, in the design of Syms. It appears that McBurney wrote a detailed program for the building and closely critiqued Smith's plans, finally accepting a fourth effort.13
Application for a building permit was made on October 15, 1890 and the building was completed on October 17, 1890. It opened on November 3, 1892 and at that time was considered the most advanced operating theater in the world.
In addition to "McBurney's Incision," described above, which was developed largely at Syms, a number of other notable surgical advances were made here. These included the popularization of the use of rubber gloves, the invention of the "Roosevelt clamp," the first use by Thomas Bennett of the nitrous oxide-ether sequence and his subsequent development of the Bennett inhaler, and the development of the Connell Airway Anesthetometer by Dr. Karl Connell."
Design and Construction
The design of the Syms Operating Theater followed the very latest standards for a scientifically correct surgical operating theater. Syms was planned to serve several complex objectives and its simple exterior form belies the substantial complexity of the interior. Named for its dramatic focal point, the surgical amphitheater, the building also contained numerous additional rooms with varied requirements for light, air, and location. These included visitors' rooms, recovery rooms, living quarters for nurses and assistant surgeons, a decorated private chief surgeon's room, laboratory rooms, rooms for photography and
microscopes, two small operating rooms, surgeons' rooms, an ether room, various preparation rooms for bandages, instrument sterilization and storage, and separate circulation systems for visitors, the surgical staff, patients, and residents of the building. Visitors entered the building from the street; patients and medical staff entered via the connecting corridor to the surgical ward next door.
The Syms Operating Theater, a "fireproof" building,17 was built of loadbearing brick walls above a stone foundation with rolled-iron floor and roof beams and brick floor arches, and a slate roof. In addition, iron was used extensively for lintels and to create special spaces and features, notably the wheel-ramp leading from the amphitheater to the recovery room, and the amphitheater itself. The amphitheater, whose design was an innovative solution to the problem of lighting such spaces, had a semi-conical iron roof structure supporting tiers of skylights that provided diffused light without glare to the arena.
Exterior materials include Haverstraw brick with Trenton molded brick and terra-cotta details, granite window trim, copper downspouts, slate roofing, and "Hayes Skylights." Inside, "No device has been omitted to repel the invasion of dirt and dust...," to dispel dampness, or to admit light.
These devices included mosaic tile floors with curved corners, light colored impermeable wall surfaces of marble and painted hard plaster, cement floors in the amphitheater, floor traps, and a basement floor of cement mixed with felt to absorb moisture.
The building had a sophisticated heating and ventilating system operated from an engine room and a fan room in the basement. Important features of the system visible from the outside are the air intake tower which projects above the west wing of the building abutting the recovery rooms, brick chimneys in a symmetrical arrangement on either side of the amphitheater roof, and the massive exhaust chimney at the rear of the amphitheater roof.
In designing the exterior of the Syms Operating Theater the architect endeavored to make the building harmonize with its High Victorian Gothic style neighbors at Roosevelt Hospital in its setback from the street, the massing of its volumes, the contrasting use of red brick with light stone trim, and picturesque roof form. In particular, it related to the old Surgical Pavilion next door in the height of its one-story wings and in the rhythm and placement of its stone lintels.
While the round entrance arch and the main exhaust chimney recall the Romanesque, the overall design reflects the personal approach of the architect for hospital buildings. The principal features were decorative detail largely confined to variations of color and texture in flat walls, recessed windows which minimized
interior reveals, curved corners, and modest cornices. In 1892 when it opened, the restrained use of decorative detail was unusual for a prominent medical building. Most contemporary New York hospital buildings were more stylish and more lavishly ornamented, built generally for private paying patients or institutions with religious affiliations. Their designs may have been more fully in the hands of institutional benefactors or architects rather than doctors, and their outward appearances had more to do with aesthetic or conventional symbolic associations than with the practical function of a hospital. For example, Presbyterian Hospital, built in the Romanesque Revival Style at the same time as Syms, was designed by J.C. Cady and was a picturesque composition of Richardsonian elements that conveyed both an ecclesiastical and a club-like character to the building, and St. Luke's Hospital, designed by Ernest Flagg the year Syms opened employed a Beaux-Arts composition and French Baroque ornament in a sophisticated way that conveyed the power, permanence, and reliability of the institution.
In contrast to these, at Syms the exterior appearance was considered important but secondary to the primary scientific function of the building.20 Making a virtue of a restricted budget for its exterior, the design appears neither frugal nor lacking expressiveness, but serious and straightforward, evoking the high place of medical science in determining its form, and the priority of science over symbolism in the medical care to be provided within.
As a work of architecture, Syms must be seen in the context of hospital buildings and operating spaces not just in New York City but internationally. In this context it is a remarkable building representative of an alliance of medical science and architecture that produced some of the most advanced buildings of the 19th century.2-1
William Wheeler Smith22
William Wheeler Smith (1838-1908), designer of the Syms Operating Theater, practiced architecture in New York from 18 65 to 1908. During an unusually long career, he designed a number of notable buildings including the Collegiate Reformed Protestant Dutch Church (1872, demolished ca. 1933) at 48th Street and Fifth Avenue; the James White Building (1881), a cast-iron commercial structure, now a designated New York City landmark, at 361 Broadway; the W. & J. Sloane Store (1882), a large commercial structure now included in the Ladies Mile Historic District; and the Syms Operating Theater. Smith was successful and well regarded in his day but most of his major buildings have been demolished and little else survives to give us a full picture of his life and career.
Born in New York City, "Mr. Smith was described by his friends and associates as an 'old school architect' who had inherited the fondness and ability for his profession from his father, a well-known builder of this city.112 3 He apprenticed with one of the leading architects of the day, James Renwick, and studied at the University of London. He practiced on his own from about 1865 until his death in 1S08.
Along with his architectural practice Smith invested in real estate. He left an estate worth more than $3,000,000, almost all of which was to build "a country sanitarium for poor convalescents who must be sent away from St. Luke's [Hospital] before they have fully regained their strength."
Smith's philanthropic interest in hospitals was long standing. Over a period of many years he designed several buildings for Roosevelt Hospital including the Syms Operating Theater, without pay.
Smith's career seems to fall into two periods, an early period of general practice and a later period of specialization in hospital architecture and real estate development. The hospital and medical buildings, including the Sloane Maternity Hospital (1886), the College of Physicians and Surgeons (1888), and the Vanderbilt Clinic (1889) , all on the block across 59th Street from Roosevelt Hospital (and all demolished), and the McLane Operating Room (1890), the Accident Building (1898) (both demolished), the Syms Operating Theater, and Private Patients Pavilion (1896) of Roosevelt Hospital all resembled one another. A late project of Smith's was the Kingston Avenue Hospital in Brooklyn. A perspective rendering shows a pavilion plan hospital organized much like McKim, Mead, and White's Columbia College Campus and in the same general style.
Later History
Syms was refurbished in 1934 but remained an operating theater only until 1941 when the new Private Patients pavilion was opened with new surgical rooms. For some time, Roosevelt's role as a teaching hospital had been diminished, styles of teaching surgery had changed, and the theatrical presentation to large crowds was considered obsolete.
In 1942 the blood bank and mortuary of the Hospital were moved into Syms. In 1948, Syms was used as a temporary emergency room. In 1953 the rear portion of the building (17 feet 6 inches deep) was removed to make way for the new Tower Building, the upper tier of skylights was covered in copper sheets, the semi-opaque glass on the ground floor was replaced by clear glass, the amphitheater was gutted, and the building was occupied by the Department of Pathology.
Since that time, air-conditioning equipment has been placed in the front lawn, ducts have been run through several windows, parts ' of the areaway have been obstructed by pipes, trees have been allowed to grow in the front lawn, and the old amphitheater and other spaces have been remodeled to suit changing office and laboratory space needs of the Hospital.
Description
The Syms Operating Theater is a nearly rectangular structure at the southwest corner of West 59th Street and Ninth Avenue. The building is set back on its two street fronts behind narrow planted strips which are bordered along the sidewalk by an iron fence on a granite base with granite capped brick posts.
In its massing the building consists of a central block with an elongated semi-conical roof, one-story wings on either side, a narrow three-story L-shaped wing adjacent to the central block on the south and west sides, and a square air intake tower adjacent to the west side of this wing above the one-story wing.
The walls of the building are brick with curved corners. Brick is of two types, each laid in the same plane in Flemish bond and differentiated by their finish: smooth and evenly colored around windows and corners, rough and varicolored between windows. The smooth brick framing was in a form suggesting quoins creating two-story bays at the basement and first story levels. Windows have granite sills and lintels and occasional granite mullions in wider windows, sometimes with egg and dart moldings or block modillions of terra cotta.
The roof, whose distinctive form signals the amphitheater below, is crowned by a decorative iron finial in the form of a caduceus surmounted by a fleur-de-lis, and is clad in two tiers of skylights across the front, slate shingles on the sides, and tin flashing.
The roof is pierced by a large unadorned chimney in either flank, above the back wall of the amphitheater, and a massive exhaust chimney behind the amphitheater with a Romanesque corbelled cornice. The building is entered through a large rounded arch of glazed brick which is reached by a short flight of stairs. Above this arch is a granite panel with raised letters saying "The Wm. J. Syms Operating Theater of the Roosevelt Hospital, 1891."
Alterations
Today the exterior of the building is as built except for the loss of the entire south facade (the new facade abuts the adjacent Tower Building), the loss of the southernmost bays of the east and west facades, the addition of copper sheeting over the principal skylights, the presence of modern HVAC equipment, and the overgrowth of the lawn.
Although the alterations to the building are extensive (more so on the interior, which is not the subject of this designation, than on the exterior) and mostly irreversible, the visual character of this highly distinctive building is still largely intact. Its subtly decorated flat brick walls with rounded corners, its strong entranceway and name panel, its massing as visible from most angles, and especially the distinctive shape of its roof are all present.
- From the 1989 NYCLPC Landmark Designation Report
Driving through the Rio Grande Gorge, on the way to Taos.
The road is on an ancient Taos volcanic plateau that forms the 78-mile long Rio Grande Gorge in northern New Mexico.
This bridge in the past has also been known as the “High Bridge and it” hangs 650 feet above the Rio Grande River. This makes it the fifth highest bridge in the United States behind the highest bridge being the Royal Gorge Bridge in Colorado that is 1,053 feet high. However, unlike the tourism only Royal Gorge Bridge this bridge across the Rio Grande actually serves a useful purpose as a busy highway bridge. The bridge was built in 1965 and since then has been featured in a number of movies due to its dramatic profile across this spectacular gorge.
The Carte Postale
A carte postale published by Ern. Thill of Brussels.
The card was posted in Blankenberghe on Wednesday the 7th. August 1935 to:
Miss Crofts,
Prospect House,
Llanymynech,
Near Oswestry,
Montgomeryshire,
Wales,
Angleterre.
The message on the back of the card was as follows:
"Blankenberghe Tues.
Having a good time for
a week in Belgium.
Going to Brussels and
the Exhibition tomorrow.
Weather has not been
too good, but we have
enjoyed ourselves.
Love from Edna".
The Brussels International Exposition of 1935
The exhibition to which Edna referred was in fact the Brussels International Exposition of 1935 which was held in Heysel, near Brussels, between the 27th. April and the 6th. November 1935.
Twenty-five countries officially participated, and a further five were unofficially represented. The theme was colonization, on the 50th. anniversary of the establishment of the Congo Free State.
The exposition attracted some twenty million visitors.
Belgian architect Joseph van Neck was the principal architect of the fair and of the Art Deco Palais des Expositions, with its dramatic interior concrete parabolic arches, and four heroic bronze statues on piers.
Le Corbusier designed part of the French exhibit. The Belgian modernist architect, Victor Bourgeois, designed the Grand Palace, the Leopold II Restaurant and the Soprocol Pavilion.
The Belgian art exposition displayed the work of contemporary Belgian artists, including Paul Delvaux, René Magritte and Louis Van Lint, thereby boosting their careers.
The Palais des Expositions, and at least three other of the 1935 structures, were re-used for Expo '58 which was held at the same site 23 years later.
The Belfry at Bruges
The belfry, which is on the south side of the Grote Markt (Big Market Square), was built in the 13th. Century.
It houses a carillon of 47 bells which are rung by a full-time carilloneur who gives free concerts on a regular basis. (When you think about it, they'd have to be free, wouldn't they?)
The statue on the tall plinth commemorates Jan Breydel, a butcher born in Bruges, and Pieter de Coninck, a weaver.
In May 1302 they led the Bruges Matins (Brugse Metten), a violent uprising against Philip the Fair. (He couldn't have been that fair, or the plinth would have had a statue of him on it, rather than them!)
Asfaw Wossen
So what else happened on the day that the card was posted?
Well, on the 7th. August 1935, Ethiopian Crown Prince Asfaw Wossen reviewed 100,000 tribal warriors near Gondar.
Joe Louis
Also on that day, 39,195 boxing fans at Comiskey Park in Chicago watched Joe Louis knock out King Levinsky in the first round.
An Egyptian Plane Crash
Also on the 7th. August 1935, 7 Italians were killed in a plane crash in Egypt, including Public Works Minister Luigi Razza.
Central Park West, Upper West Side, Manhattan, New York City, New York, United States of America
Summary
Soaring over Central Park, the profile of the San Remo is among the most important components of the magnificent skyline of Central Park West. The first of the twin-towered buildings which give Central Park West its distinctive silhouette, and one of the New York's last grand apartment houses built in the pre-Depression era, it was designed by Emery Roth, then at the pinnacle of his career as a specialist in apartment house architecture. A residential skyscraper in classical garb, the San Remo epitomizes Roth's ability to combine the traditional with the modern, an urbane amalgam of luxury and convenience, decorum and drama.
Development of Central Park West
Central Park West, the northern continuation of Eighth Avenue bordering on the park, is today one of New York's finest residential streets, but in the mid-nineteenth century it was a rural and inhospitable outpost, notable for its rocky terrain, browsing goats and ramshackle shanties. With the creation of Central Park in the 1860s, followed by Riverside Park (begun 1876), as well as a series of transportation improvements such as the Ninth Avenue Elevated Railroad (1879), the Upper West Side in general experienced a period of intense real estate speculation. The 1880were the first decade of major development, and set the pattern for the Upper West Side, where rowhouses line the side streets, and multiple dwellings, commercial and institutional structures are sited on the avenues.
Not surprisingly, those avenues closest to the parks. Central Park West and Riverside Drive, were immediately considered the most desirable. (Ninth Avenue, re-christened Columbus in 1890, Tenth Avenue, renamed Amsterdam in the same year, and Broadway—the Boulevard before 1899 — were all, in varying degrees marred by cable car and elevated railway lines.)
The potential of the parkside avenues for development as prime locations led to an anticipatory increase in land values; prices rose to such extravagant heights that many speculative builders shied away from row house and tenement construction, from which they would realize relatively meager returns, while the very wealthy, who could afford to build mansions, for the most part remained on the more fashionable East Side- As a result, the development of Central Park West lagged behind the general development of the Upper West Side. It was not until the turn of the century that Central Park West's construction boom began and it emerged as a- boulevard of elegant tall apartments punctuated by impressive institutional buildings—a kind of grand proscenium to the architectural variety show of the Upper West Side.
The stage had been set By two great monuments, the American Museum of Natural History between 77th and 81st Streets, (begun 1874, architects Vaux & Mould, and a designated New York City Landmark), and the Dakota, the pioneering luxury apartments at 72nd Street (1880-84. architect Henry Hardenbergh, and a designated New York City Landmark). Yet a survey of roughly a decade later revealed that more than half the block fronts along the park from 60th to 96th Streets remained vacant or contained only old, modest frame houses. A few rather unprepossessing apartment hotels (at
least, relative to the Dakota) were constructed in the early 1890s, among them the San Remo at 75th Street, designed in 1890 by architect Edward Angel 1.2 was described by Moses King in his Handbook as "an immense and imposing edifice, finely situated on the high ground of West 75th Street and facing on the lawns, woods and waters of Central Park. The rooms . . . are all in suites"; and more recently as "a ten-story, high Victorian pile, a mixture of Gothic and Romanesque details . . . unremarkable from an architectural standpoint except for the steep pyramidal towers at its corners."
Among the other apartment hotels on the avenue, were the Beresford at 81st Street, the Majestic (architect Alfred Zucker) just south of the Dakota, both erected in the early 1890s, and the El Dorado at 90th Street of 1901. These have all been replaced by their towered namesakes of the late 1920s and early '30s, but they had already been architecturally superceded by grand apartments houses of the early 1900s—such as the Prasada (1904) at 65th Street, the Langham (1905) at 73rd Street, the Kenilworth (1908) at 75th Street. This phase in Central Park West's development was interrupted by World War I, when construction ground to a halt. The second major phase of development began with the great prosperity of the '20s producing the Art Deco towered buildings, and Roth's Beresford and San Remo Apartments which now define the skyline.
The 1920s provided a generation of aspiring immigrants with the opportunity to move up in the world, both economically and geographically. Many Jewish immigrants, refugees from Csarist pogroms, had achieved prosperity in New York by the late 1920s, and looked from the Lower East Side and the Boroughs to the Upper West Side as a cultural and architectural haven. By the mid-1930s more than half the residents of the Upper West Side from 72nd to 96th Streets were Jewish, and more than a third of these families was headed by a parent born in Europe. Emery Roth was himself a Jewish immigrant of Horatio Algeresque stamina and optimism, a family man and Upper West Sider, although he arrived by a more circuitous route than most of his neighbors.
The Architect
Emery Roth was born in 1871 in the town or Galzecs, Hungary, then part of the Austro-Hungarian Empire. When he was thirteen the family's fortunes took a turn for the worse, and it was decided that young Emery, alone, would immigrate to America. Passing through Ellis Island, he continued on to Chicago where his success story began.
When still a teenager living a hand to mouth existence in Bloomington, Illinois, Roth determined to become an architect. He worked for both a local builder and a local architect. In 1889, having won a national-government sponsored contest, the Maize Competition—for which he drew a living room utilizing the corn plant as a decorative motif—Roth took his $100 prize money and set out for Kansas City. Apparently he could not find architectural employment there, but while he was still in Bloomington, had applied to join the office of Burnham & Root. Offered the job by mail. Roth moved on to Chicago and worked under Charles Atwood (who had succeeded John W. Root after his death in 1891.) Roth helped to prepare drawings for the celebrated Palace of Fine Arts. While at the fair, he met Richard Morris Hunt, the recognized dean of American architects, who offered to hire him if he ever came to New York. After the fair, with true to form optimism, Roth made his way to New York, where Hunt's casual offer was honored. Assigned to draft interior perspectives for The Breakers, the Newport mansion of Cornelius Vanderbilt, Roth came in contact with Ogden Codman, a noted architect, interior designer and socialite. In 1895 Roth went to work for Codman, where his decorative and planning abilities were sharpened.
By 1898 Roth believed himself ready for private practice. Two young architects, Theodore G. Stein and E. Yancy Cohen, after involved negotiations, sold Roth their architectural practice for $1000. As part of the agreement, Roth was entitled to represent himself as a partner in Stein, Cohen & Roth in order to capitalize on the good will of the existing firm. In fact, Roth was on his own.
Roth's first major commission was the Hotel Belleclaire of 1901-03 on upper Broadway, a designated New York City Landmark. While it was under construction Roth was approached by Leo and Alexander Bing, Manhattan real estate developers. The Bing brothers admired the Belleclaire and commissioned Roth to design a group of five-story apartment buildings in Washington Heights. This alliance inaugurated a lifelong association.
In the following years, Roth had several commissions, among them Bancroft Hall of 1910—a student housing facility for Columbia University, and a series of religious structures, including the Congregation Ahavith Achem of 1908 in Brooklyn and the First Reformed Hungarian Church of 1916 on East 69th Street in Manhattan.
The year 1918 was a traumatic one for Roth. He lost his vision in one eye, the result of glaucoma, and nearly died in the great influenza epidemic. But the prosperity of the 1920s was to carry him into a period of great achievement. After the hiatus in construction caused by the First World War, building was again undertaken. In New York City, a 1921 ordinance exempting new residential construction from real estate taxes for the next decade, opened the door to a building boom. The Bing brothers commissioned a series of apartment buildings and hotels from Roth, many of which Ruttenbaum aptly terras "fine background buildings," while two other developers, Samuel Minskoff and Harris H. Uris commissioned Roth to design a number of handsome medium height apartment houses which the architect dubbed "skyscratchers."
In 1926 Roth in association with Thomas Hastings, the surviving partner of the eminent firm of Carrere & Hastings, designed the Ritz Tower at Park Avenue and 57th Street, a 41-story apartment hotel In a neo-Renaissance style, its extreme height making it "a symbol of a new way to live for wealthy New Yorkers." After the Ritz Tower, Roth went on to design a host of luxury residential skyscrapers, among them the Oliver Cromwell Hotel on West 72nd Street (1928), the Beresford Apartments on Central Park West, and as a consultant to Margon & Holder, the Art Deco style El dorado Apartments also on Central Park West (1929-31, and a designated New York City Landmark). From the mid-1920s on, the signature of a major Roth apartment house was its tower(s). Initially designed to conceal water tanks, they evolved in the Beresford with its three towers into a major element of the design.
In the San Remo. among Roth's finest works, the towers are carried even further, becoming an integral component of this residential skyscraper. This fusing of the functional with the aesthetic was equally characteristic of his apartment plans. Roth's sons credit their father with the creation of the foyer plan, and if not the originator he was certainly a refiner of this type. Roth's best apartments seem effortlessly interlocked, wasteful corridor space reduced to a minimum, with spacious, well-lit rooms in their stead.
Roth's last great work was the Normandy Apartments on Riverside Drive of 1938-39 (a designated New York City Landmark), by which time his sons had joined the firm. The majority of his later buildings in concession to the Depression had smaller apartments and fewer amenities, while still maintaining high standards. Roth died in 1947, and his sons continued the firm, which has been prosperous and prolific.
The San Remo
In an advertisement of May 18, 1930, in the New York Times the San Remo was heralded as:
The Aristocrat of Central Park West Apartments Designed for You Built by the builders of the Beresford
Every detail of these sumptuous apartments has been carefully planned to make living in them the last word in luxury. Only private homes have ceilings as lofty as these and rooms as- spacious. Every chamber has its own colored tile bathroom and is well-supplied with deep closets. Many have dressing rooms too. The long galleries and living rooms with fireplaces offer splendid decorative possibilities. The kitchens have been fitted with the most modern appliances. Up in the towers are apartments such as New York has never before seen with windows on all four sides and views of Central Park, the Hudson, and Westchester. Other specially designed apartments have slate terraces overlooking the park.
Six to sixteen rooms, simplex and duplex apartments H.R.H. Construction Company 11
Contemporary writers essentially concurred with this euphoric description, and were impressed by the height of the building, the twin-towered silhouette, good plans and luxurious detailing. The New Yorker magazine (a publication which in 1930 seems, at least to modern eyes, to all but ignore the 1929 Crash) featured two articles on the San Remo, one by "Penthouse" [Marcia Clarke Davenport]. Davenport is impressed by the views, the size of the terraces and rooms, and "the remarkable sun and light everywhere." Perhaps a hint of the Depression can be detected in her interest in costs--"This is not one of the houses you use to illustrate that rents are lower on the West Side." An eighteen-room duplex was offered at $21,000 per year.
The second New Yorker contributor, "T-Square" [George S. Chappell] considers the San Remo in more strictly architectural terms and as a design by Roth "whose name must be inextricably associated with the development of this section" of Manhattan.
...the Italian baroque [is] skillfully adapted to modern conditions. Cornices are reduced to a minimum, becoming simply bandcourses, but such detail as is used is classic in derivation. The twin towers with their circular colonnades of Corinthian columns, crowned by bronze lanterns,
are fine in silhouette____ The proportions are
well-studied and the warm light brick used above the limestone substructure give a delightful effect.
Chappell also praises the watertank coverings and the innovative window design with upper and lower movable transoms.
Despite its popular success, the San Remo fell prey to the pervasive economic mayhem of the 1930s. A full year after it had officially opened, nearly a third of its apartments remained vacant, and the Bank of the United States which held its $5 million mortgage had collapsed, its officers charged with recklessly "gambling" on the San Remo. In an
effort to attract tenants rents were reduced, and some of the larger apartments were subdivided. But after a succession of owners and bankruptcies, in 1940 the San Remo was sold along with the Beresford, which was experiencing similar financial woes, for a mere $25,000 over existing mortgages.
In its near sixty-year history, the San Remo has had numerous well-known and famous tenants, among them David Nemerov and his wife, owners of Russeks Stores, and parents of Howard Nemerov, poet and critic, and Diane Arbus, photographer, Eddie Cantor, the singer and comedian, and more recently, singer Barry Manilow, and actors Dustin Hoffman, Diane Keaton, Tony Randall and Mary Tyler Moore.
Architectural Sources and Style
The San Remo is a skyscraper which, in the conservative early twentieth-century tradition, applies an historical style to a contemporary form. Roth, who had a lifelong predilection for classicizing styles (although he used others), here turned to the Late Italian Renaissance for inspiration,,. Broken pediments, both curved and triangular, cartouches, and boldly scaled pilasters and columns with composite capitals, and overlapping architectural elements—all hallmarks of the Late Italian Renaissance—are the components of the San Remo's detailing. Ruttenbaum has noted similarities in the crowning temples of the San Remo with the ancient Greek choragic monument of Lysicrates, which Roth had studied in his youth at the Chicago exposition. Certainly, there are parallels, especially in the proportions, but perhaps equally important are such Late Renaissance structures as Bramante's celebrated Tempietto in Rome, or—in terms of placement as much as form—Michelangelo's lantern atop St. Peter's dome.
Much closer to home are such general prototypes as McKim, Mead & White's Municipal Building of 1909-13, a skyscraper topped by a temple and designed in a neo-classical style.
Truly tall skyscrapers, rather than the "skyscratchers" of Roth's terminology, up until the 1920s had been almost exclusively erected as commercial structures. Roth's first very tall apartment building, the 41-story Ritz Tower of 1926, had been erected as an apartment hotel, for which less stringent building code requirements applied than for apartment houses. The Ritz Tower was exactly what the name implied—one preliminary scheme even called for a lantern clearly derived from the tower of the Florentine Palazzo Vecchio. In residential terms, this was a new building type, one which reached a fuller expression in the San Remo.
In early 1929, a new Multiple Dwelling Act was passed, allowing apartment houses of large ground area greater height and the use of towers. The San Remo, the first of the vast twin-towered West Side apartments, was designed in response to these new stipulations. An innovative design, based on Roth's experience with single-towered structures, it was quickly emulated: yet the sheer size and height of the San Remo apparently struck others as fundamentally "modern." The Century Apartments and the Majestic Apartments are exercises in the contemporary Art Deco style. Even the Normandy, Roth's own last great building combines elements of the Style Moderne with neo-Italian Renaissance motifs. Yet, as the architectural critic, Paul Goldberger (himself a resident of the San Remo) has remarked, "Roth's greatest gift was his ability to adapt Renaissance and classical details to modern building forms." 21
Description
The San Remo Apartments occupy the Central Park West blockfront from 74th to 75th Streets. A residential skyscraper, the main block of the building is 17 stories in height, with terraced setbacks from the 14th to 17th stories. Two symmetrical towers, each ten stories in height surmounted by elaborate suprastructures culminating in circular temples with lanterns give the building its dramatic profile. The building is executed in light brick. The first three stories are in rusticated limestone, lightly vermiculated at the first two stories, with smooth lower relief at the third. The facade is 26 bays wide, with two main entryways. The southern elevation is 19 bays wide, and the northern is 16. {The southern elevation is 180 feet in length, the northern, 150.) Each has a single main entrance. (There are four office entrances on the Central Park West facade, two on the south elevation, and three on the north. The towers are five bays wide on the facade and side elevations.
The rear, western elevation...which owing to its height above the side street rowhouses, is largely visible is executed in the same light brick, and is ranged around a T-shaped courtyard. The towers have terraced rear extensions. A large chimney abuts the north tower.
The facade and side elevations are articulated above the three-story base by shallow brick pilasters and slight projections signalized as pavilions by the Renaissance detailing at the upper stories. The facade of the main block of the building has a basic vertical arrangement of bays as: 1-1-1-6-1-6-1-6-1-1-1. At the terrace levels the central six bays and outermost three bays function as true pavilions between the setbacks. The towers have massive, pier-like enframements at the corners. Cornices are effectively and sparingly used to accentuate the upper stories of the main block of the building, the upper stories of the towers, and the suprastructures.
Architectural detailing, executed in stone, terra cotta and metal, is Late Italian Renaissance in character, and highlights entrances and window configurations at the upper stories. Balustrades, pilasters, engaged columns, broken pediments, both circular and triangular, garlands, urns, cartouches, scrolls, consoles and roundels are employed. The detail is executed in limestone up to the fourth story and in terra cotta above. The terraces have either terra-cotta balustrades or metal railings. The lantern is of copper. (All such detailing is described below.)
Detailing
Fenestration:
The windows are uniformly treated on the designed elevations, with metal casements featuring movable transoms above and below the principal windows. The upper transom swings out, the lower transom (or hopper) swings in. The central large windows open outward in the conventional manner. The windows have six panes (2 over 2 over 2). This innovative design was intended to facilitate the regulation of temperature and air circulation. There are some variations in width which reflect interior spaces (living rooms, bedrooms etc.) but the basic configuration remains the same, except in the second-story windows above the Central Park West entrances, and at the uppermost stories of the facade central pavilion, which are tripartite with nine panes of glass (3 over 3 over 3). On the rear elevation the windows are more varied in their treatment, with single double, triple and double leaf casement windows, some of which do not have the lower transom. A few windows have been altered, most notably on the rear tower elevations.
Main Entrances:
Facade [Central Park West] (two, symmetrically located at the 6-7th bays and 20-21st bays).
A broken triangular pediment surmounts the double doors , executed in bronze and glass with paneled, solid bronze transoms. The doors are each divided into three parts, with square panels ornamented by bronze medallions and bordering acanthus leaver set in a rectilinear bronze grillework. Metal and glass lanterns flank the doorway. A double-height limestone enframement surrounds the doorway and second-story tripartite window, and is composed of flanking pilasters with composite capitals , with reliefs depicting classical urns above, and supporting a dentiled curved, broken pediment. At the center of the pediment is a large scrolled cartouche draped by a garland which is looped over a rosette at each side. The doorways have sheltering canopies on bronze supports.
North [75 St.] and south [74th St.] elevations (one, located in the 13th bay, north side, and in the 11th bay, south side).
Both have deep reveals and limestone enframements with a surmounting console table on console-like supports with a central scrolled cartouche. The single bronze and glass doors follow the same design as those on the facade and have transoms with an octagonal panel with central medallion and acanthus leaves. Lanterns flank the doorways.
Office Entrances:
Facade [Central Park West] (four, symmetrically located at the 3rd, 10th, 17th and 24th bays).
These have limestone enframements and surmounting entablatures with scrolled ornamental keystones. The single doors are of bronze with a glazed upper panel and transom.
North elevation [75th St.] (three, at the 4th, 8th, and 15th bays).
These are detailed like those on the facade.
South elevation [74th St.] (two, at the 6th and 14th bays).
Set within deep reveals and enframed by the rusticated walls, each has a bronze door with a glazed upper panel and transom.
Service Entrances:
North [75th St.] and south [74th St.] elevations, (two, located at the rear of each elevation).
A rusticated wall which follows the design of the building walls and extends to the second story contains an arched doorway with a large keystone and is surmounted by a paneled overdoor. A decorative metal gate with a panel reading "Service" fills the archway. At the south elevation, a metal railing atop a brick wall extends westward along the property line.
Third Story Window Enframements:
Facade [Central Park West], north [75th St. ] and south [74th St.] elevations, (four, each set at the second bay from the Central Park West corners).
The windows have limestone relief enframements with side elements in the shape of a console in profile, and rosettes. .. . .
Fourth Story Window Enframements:
Facade [Central Park West] (two, symmetrically placed, 5-8th bays and 19-22nd bays).
A balustraded balcony set upon four large ornamented console brackets extends for four bays. The central two bays have a limestone enframement and are separated by a smooth limestone panel. Flanking pilasters support an entablature upon which a triangular broken pediment is superimposed. At the center is a scrolled escutcheon with a garland and ornamental tablet.
Facade [Central Park West], north [75th St.] and south [74th St.] elevations, (four, each set at the second bay from the Central Park West corners).
Each has an entablature with a superimposed triangular pediment, both dentil led, and a central ornamented keystone flanked by plain stones. Pilasters and enframements surround the windows which also have a balustrade executed in high relief.
Fourth Story Cartouche:
Facade [Central Park West] (one, between the 13th and 14th bays).
A large scrolled cartouche, placed at the center of the facade, it has the completion date of the building 19—30 placed to each side.
Eleventh-Twelfth Story Window Enframements:
Facade [Central Park West] (two, symmetrically located at the 5-8th and 19-22nd bays).
A balustrade on Four console brackets, which visually echoes the fourth-story treatment below, extends across four bays. A double-height, two-bay wide central section is recessed, with flanking brick pilasters, in which the capitals are seemingly "overlapped" by the outer wall surface. Two embossed rosettes appear in the panel which is enframed by bandcourses between the 11th and 12th stories. Two additional embossed rosettes appear in the outer bays. A scrolled cartouche with garlands draped over rosettes, similar to those of the facade main entrances, surmount the composition.
Thirteenth to Fifteenth Story Window Enframements:
Facade (Central Park West], north [75 th St. ] and south [74 th St.] elevations, (four, each set at the second bay from the Central Park West corners).
Placed similarly to the window enframement of the fourth story, these three-story compositions also serve to accentuate and anchor the Central Park West corners of the building. In each,, ornamented console brackets at the 13th story level support a balustered balcony one bay wide. At the 13th story and balcony level, are bandcourses which continue along the walls, articulating the designed elevations. The 14th-story windows are surmounted by curved broken pediments and ornamented at the center by escutcheons. Garlands and floral motifs appear below the pediments, upon the window frames. The 15th-story windows are surmounted by a scrolled escutcheon. Double height brick pilasters with rosettes flank the windows and support a broken triangular pediment. Cartouches appear at the center. The band courses of the pilasters and broken pediments also continue along the wall surfaces and here help to define the three-bay wide corner pavilions. These pavilions are further defined by flanking brick pilasters with rosettes.
Thirteenth to Seventeenth Story Window Enframements:
Facade [Central Park West] (one, at the 12-13th bays).
This composition, which signalizes the central six-bay wide pavilion, reiterates many of the elements of the four corner compositions just described, although it is two bays wide, rather than one. Ornamented consoles at the 13th story support the 14th story balustered balcony. Instead of two windows there are single tripartite windows. The 14th and 15th story windows are detailed like those at the corners, but here the broken pediment enframing the carouche is curved rather than triangular. The composition continues to the 16th and 17th stories, which are also flanked by brick pilasters. The tripartite window at the 16th story is richly enframed with a central garlanded tablet, and a broken triangular pediment. At the 17th story is a central garlanded cartouche. The central pavilion has terminating brick pilasters with embossed rosettes like those of the corner pavilions.
Twenty-third Story Window Enframements:
Facade [Central Park West], north [75th St.] and south [74th St.] elevations, (four, set in the central bays).
These window, set mid way on the designed elevations of the towers, function as medallions on the relatively unadorned tower shafts. The windows have elaborate enframements with ornamental keystones and curved, broken pediments.
Twenty-sixth - Twenty-seventh Story Window Enframements:
Facade [Central Park West], north [75th St. ] and south [74th St. ] elevations, (four, set in the 2-4th bays).
Set between bandcourses and balustrade and pediment level, which continue on the wall surfaces of the towers, are these three boldly scaled three-bay wide compositions. The central bay has a projecting balustrade and above, double-height engaged columns on brackets, with foliate capitals. These columns enframe the two windows and support a curved broken pediment. At the center of the pediment is a large cartouche. The side bays have balustrades and above, double-height pilasters on podia, with foliate capitals. These pilasters flank the two windows and support triangular broken pediments.
Suprastructure Window Enframements:
Facade [Central Park West], north [75th St.] and south [74th St.] elevations and the two inner faces of the towers (six, set at the second story of the suprastructure and in the penthouses).
These double-height compositions each include a framed window with flanking brick pilasters with embossed rosettes at capital-level. Above the window is a broken triangular pediment and a central escutcheon. Six small penthouses with semi-circular roofs have their facades placed above the pediments. The windows of these are curved at top and bottom and elaborately enframed and have metal grilles. They are each flanked by console brackets which support the curved pediment of the penthouse.
Temples:
North and south towers, (two, located at the top of the building).
Above the suprastructure each tower is surmounted by a circular temple of brick and terra cotta, set upon a base articulated by boldly scaled console brackets on eight buttressing pedestals. Large urns, draped with garlands, crown each pedestal and the intervening walls are ornamented with scrolled cartouches beneath balustrades. The temples, set on simple brick podia, are encircled by colonnades of smooth columns with foliate capitals. These support plain dentil led friezes beneath balustrades. Above on each tower is a circular base with copestones, which supports the crowing element — a fenestrated and electrified copper lantern, above elongated foliate scrolled consoles. (The temples and lanterns have recently been restored.)
- From the 1987 NYCLPC Landmark Designation Report
The Rathskeller in the Seelbach Hotel, Louisville, Kentucky
The 1907 addition to The Seelbach in Louisville, Kentucky, included a German rathskeller made of Rookwood Pottery created in nearby Cincinnati, Ohio, by workers hired from the Art Academy. Rookwood Pottery was founded by Maria Longworth Nichols (later Mrs. Bellamy Storer Jr.) in 1880.
According to "The Seelbach Hotel, A History of Louisville Tradition" by J. Theriot in August, 1988, "In making this expensive type of pottery, decorations were drawn by hand on the clay before firing, making the design part of the ware. After baking, various glazes were added in subsequent firings. The floors, columns and walls of the eighty-foot square room were made of the pottery. The ceiling is fine-tooled leather."
To complement the room, The Seelbach Realty Company's president, Charles C. Vogt, presented the hotel with a $10,000 gift, a Rookwood-faced clock. Such a collection of Rookwood was very rare and, today, The Rathskeller is one of only two surviving ensembles of this art form.
The Rathskeller (ratskellar, a German word meaning restaurant in the town-hall cellar) was built in Bavarian tradition. The Seelbach's Rathskeller menu offers this description: "As a matter of fact the Rathskeller in every essential, artistic detail, is a reproduction of the underground drinking and council hall of one of the famous castles on the Rhine."
The graceful arches supported by noble columns give a cathedral-like effect. The archway pillars are encircled with Rookwood pelican frescoes, a symbol of good luck, and the ceiling above the bar is covered with hand-painted 24K gold leaf leather detailing the signs of the zodiac.
The Rathskeller achieved immediate popularity. The July 1912 edition of Hotel Monthly describes it as having a "seating capacity from 300 to 400." Not only was it a beautiful nightspot, conveniently located for the after-theater crowds, but it was also one of the first air-conditioned rooms ever built. The Seelbachs vowed to keep the room at least 10 degrees cooler than the outside summer temperatures. To do so required 40 tons of steam-produced refrigeration every 24 hours.
When the hotel was sold to Abraham Liebling, one of the first improvements was for the managers to lease a corner of the first floor to Walgreen Drugs. The Seelbach welcomed this renovation. Since prohibition and the nationwide ban on alcohol sales, the first floor bar had closed and The Rathskeller was little more than an extension of a restaurant. With the drug store on the main floor, the restaurant simply found a home downstairs in the basement. Several years later after prohibition ended, management moved the restaurant back up to the renovated first floor and closed The Rathskeller for extensive changes. In April 1934, it re-opened with a 56-foot bar staffed by six bartenders. With these renovations, the basement bar moved into a new era. Instead of simply providing a stopping place for late-night theater patrons, The Rathskeller would now offer its own musical and dramatic entertainment featuring local bands and occasional first-run theater.
When Walgreen's lease expired in 1941, management opted to open a new nightclub, tentatively called The Seelbach Café-Bar. The club took away from The Rathskeller and in 1945, when the Legionaries offered to rent the basement, including The Rathskeller, for a members-only club, the managers agreed. Today, The Seelbach's most treasured heirloom, The Rathskeller, with its dramatic design, lighting, and hand-carved architectural details, is again operated by The Seelbach and is available for private events.
The RathskellerThe Rathskeller is the only surviving room in the world completely encrusted in Rookwood pottery. Rookwood pelicans pervade the area, and although the Hotel’s tourist information likes to cheerfully note that the pelicans are there “for good luck,” it’s also true that the pelican is regarded in some occult mythologies as a symbol of resurrecting one’s children after having killed them oneself, by anointing them with one’s own blood. The pelican has also long been synonymous with the Phoenix (the mythological bird of occult initiation, wherein one is reborn into a new awareness or gnosis) and with Henet (a pelican goddess from pyramid-era Egypt, who appears on walls of ancient tombs and in royal funerary texts).
The Seelbach Hotel was the dream of two German immigrants, and over the past century it has gained the reputation of one of the finest hotels in the area.
"They opened the doors in 1905, the original cost was approximately $990,000 dollars," says Larry Johnson, who is now the lobby concierge at Louisville's Seelbach Hotel.
"The poker room had the distinction of being where Al Capone came to play poker," Johnson says. "He probably would have stopped here on his way back to Chicago from being in eastern Kentucky, where he picked up his moonshine." It was the era of Prohibition and Al Capone played it safe at the hotel, always facing a mirror in the poker room to keep an eye on his competition ... and on his back. And Johnson says there were "lookouts" throughout the hotel. "Whenever the police came into the lobby, somebody would step on the button and the doors going into the poker room would automatically close and he would know to get out."
And secret passageways -- now sealed up -- allowed just that. "One of the doors went out and down to the street, and the other door went downstairs to the tunnels underneath the hotel. They would go down into the tunnels and he could go anywhere from a block to a mile away form the hotel without being seen."
Louisville police never caught up with Capone, whether he was escaping a card game or from another room he favored: the Rathskeller. Now a backdrop for corporate events and other parties, Johnson says the Rathskeller was a "big night club back in the 20s and 30s, it was a USO in World War I and World War II. During Prohibition, it was a dinner club."
Capone wasn't the only well-known character to frequent the Seelbach. An Army captain stationed at Camp Taylor also gained quite a reputation at the hotel. F. Scott Fitzgerald, he frequented the bar and supposedly he was kicked out on several occasions for being a booze hound and being a little rowdy," Johnson says. Despite his brushes with the law, Fitzgerald loved the opulent hotel. So much so he wrote about it years later in the Great Gatsby.
REFORD GARDENS | LES JARDINS DE METIS
MECONOPSIS BETONICIFOLIA
Himalayan flower imported by Elsie Reford in the early 1930s that has since become the floral emblem of the Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
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Peking Opera has a more than 200-year history and is the national opera of China. It is popular among Chinese and people of other nationalities alike for its dramatic presentation of Chinese culture and history. Facial painting plays an important role in Peking Opera; it is used as a means to denote characters. For instance, a red face usually depicts the individual’s valor, integrity and loyalty; a white face illustrates the figure's wickedness, deceitfulness and cunning; a green face reveals surly obstinacy, rashness and lack of self-control. In addition, the pattern of the facial painting tells a lot about the character. Our Peking Opera masks cover many important figures in Chinese history and fiction. There is a story behind each character. The beautiful facial painting and exquisite costume of each individual will add a sense of culture to your home. Painstakingly hand-painted, these masks open the door of understanding of this high art form by enabling you to lean about the character that wears the mask in the opera itself
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
[This is a series of 7 photos] The Robert G. Lassiter House, characterized by its dramatic columns, is one of the most beautiful of the many beautiful homes in Oxford, North Carolina. It’s a Neo-Classical Revival residence, built in 1908 by Robert Gilliam Lassiter and his wife Margaret Currin. This 2 1/2 story home still has the original green tile on the roof. Topping it is a small widow’s walk. The most noticeable feature is the 2-story portico with projecting pediment, supported by Ionic columns. Between the tall columns and the entrance are a row of smaller one-story Ionic columns providing the front porch area. These in turn support a deck and a balustrade, extending the front of the house. As one faces the house, a porte-cochère, complete with an old carriage, is on the left; on the right is a side entrance, again using Ionic columns to support a small deck. The side entrance has leaded glass sidelights and a segmented transom. The front entrance also has leaded glass sidelights but . in addition, has an impressive curved transom. According to the book Heritage and Homesteads, classical features and decorative elements are present throughout the house in the wainscoting, mantels and stairs. [On Explore May 15, 2011 at #266]
It's in the Oxford Historical District and is on the National Register of Historic Places #88000403 (added 1988).
Source of much information: Heritage and Homesteads of Granville County, North Carolina, published 1988 by The Granville County Historical Society, Inc.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
Upper West Side, Manhattan, New York City, New York, United States
The William J. Syms Operating Theater, built 1890-1892, was the most advanced operating theater in the world when it opened and one of the first equipped for aseptic surgery. The result of a collaboration of the architect William Wheeler Smith and the prominent American surgeon Charles McBurney, the building represented the attempt in the 19th century to reconcile architecture with technological advances.
The appearance of the building, subtle and simple in detail but striking in its massing, especially in the form of its semi-conical roof, is expressive of the unusual functional demands of the building, an effort to harmonize the design with the other Roosevelt Hospital buildings, and the well-developed personal style of the architect for medical buildings.
Syms was the fourth of several major pavilions (see below) built as part of the pavilion plan 'of Roosevelt Hospital begun in 18 69, and as such is both part of one of the earliest pavilion plan hospitals in America, and a rare early survivor of a once highly influential approach to hospital design. Syms was the center of medical education in New York City in its early years, and it was the site of numerous advances in surgical practice at a time when modern surgery was taking shape.
Roosevelt Hospital
The Syms Operating Theater was one of a series of pavilions built according to the original pavilion plan of Roosevelt Hospital. The pavilion plan was an important early step, proposed by the French Academy of Sciences in 1788 but not executed until much later, in applying scientific knowledge to the design of hospitals. At first it called for small parallel two-story buildings, called pavilions, set in a symmetrical plan oriented for access to light and air.
Disease and infections were believed to be carried in vapors, odors, dirt, and other "miasms" which were dispelled by light and goo d ventilation. Later, improved lighting and mechanical ventilation systems led to the acceptance of larger pavilion buildings. Syms' location, siting, massing, and exterior detail as well as its institutional history all relate to the original plan for Roosevelt Hospital and to the architecture of its early buildings.
Roosevelt Hospital was established by the bequest of James Henry Roosevelt (1800-1863) who left about $1,000,000 to build a hospital "for the reception and relief of sick and diseased persons."2 Roosevelt Hospital occupies the full block bounded by 58th and 59th Streets and Ninth and Tenth Avenues. Although the land was part of the 1811 Commissioners Plan of Streets, 59th Street was only opened in 1851, and in 1866 when Roosevelt Hospital bought its site the area was still mostly scattered houses and small farms. The trustees of the hospital adopted the pavilion plan in 1866. This was among the earliest in the United States and, as far as is known, the first in New York City.
Although no early plan of the hospital survives, the original intention was to build a series of four parallel pavilions. In the first building campaign (1869-72), the prominent New York architect, Carl Pfeiffer, designed all the major buildings, three pavilions along 59th Street. They were built in the High Victorian Gothic Style with red brick walls and light colored "Ohio Stone" trim, and had lively roof lines. The one-story Surgical Pavilion next to the future site of the Syms Operating Theater was the smallest and most simply detailed of the group. The pavilion plan was largely adhered to in several expansions of the hospital, including a group of buildings designed by W. Wheeler Smith in the 1880s and 1890s, until about 1940.
Surgery, Medical Education, and Operating Theaters
In the 19th century, surgery developed from a remedy of last resort to a common medical procedure, in part due to the introduction of anesthesia in 1847 and to the development of two theories of modern surgery, antiseptic surgery developed by Joseph Lister in 1867, followed by aseptic surgery about 1890. The operating theater was developed in the early 19th century on the model of anatomical theaters which had been the center of medical training since the Renaissance.
In the 1870s, many new operating theaters, including the first one at Roosevelt Hospital, were built for the rapidly growing population of student surgeons. Usually incorporated in larger hospital buildings but occasionally occupying their own pavilions, these were well-ventilated wood rooms, often decorated, amply lit by large windows and gas lamps, which accommodated up to 3 00 observers. The best-known operating theater of this generation was at Johns Hopkins Hospital in Baltimore, built between 1877 and 1885.
These were superseded by a new generation of operating theaters about 189 0 for aseptic surgery, among the very first of which were the McLane Operating Room^ (now demolished), designed in 18 9 0 by W. Wheeler Smith at Roosevelt Hospital for gynecological surgery, and the Syms Operating Theater. These had improved heat and ventilation from mechanical forced air systems, improved lighting from electric lights, and, with the understanding that absolute cleanliness was essential, smooth, impervious materials for all surfaces.
Aseptic operating rooms were bright, clean, hard, undecorated spaces, they were the "high tech" spaces of their day. They utilized the latest technology to produce places suitable for the latest medical practices in a rapidly changing period.
History of Syms Operating Theater
The Syms Operating Theater was built with $3 50,000 left by William J. Syms (1818-89), $250,000 to build the theater and the remainder to be invested as an endowment for its work. Syms expressed in his will the desire to erect an operating theater which would be "an enduring monument to himself" and of "great service to suffering humanity."8
Syms was a partner in the New York firm of Blunt and Syms, for more than 2 5 years the largest gunmaker and dealer in New York. Syms was also a founder of the Metropolitan Gas Company and the Forty-second and Grand Street Railroad Company, and he was President of the Franklin Telegraph Company and Vice-president of the Atlantic and Pacific Telegraph Company. At his death, the Times said that he was' "one of the largest land and house owners" in New York.
Syms stipulated that the surgeon, Dr. Charles McBurney (1845-1913) would have complete charge of the building's design and operation. McBurney was a prominent New York surgeon and professor at the College of Physicians and Surgeons.
In the year before William Syms died, McBurney achieved international recognition for his identification of the diagnostic point on the abdomen for appendicitis, still called "McBurney's Point." In his years at Syms, he described "McBurney's Incision," a method for removing the appendix, and made numerous other well publicized advances in the practice of surgery. Under McBurney, Syms became a world renowned center for surgeons. McBurney had been called when President McKinley was shot because of his long experience in treating such cases at Roosevelt Hospital.
Indeed, McBurney took an active role in the design of the Syms Operating Theater. He made a tour of the most modern operating facilities in Europe and America including "all the large hospitals in England, France, Germany, Austria, and Switzerland" and worked closely with the architect, W. Wheeler Smith, in the design of Syms. It appears that McBurney wrote a detailed program for the building and closely critiqued Smith's plans, finally accepting a fourth effort.13
Application for a building permit was made on October 15, 1890 and the building was completed on October 17, 1890. It opened on November 3, 1892 and at that time was considered the most advanced operating theater in the world.
In addition to "McBurney's Incision," described above, which was developed largely at Syms, a number of other notable surgical advances were made here. These included the popularization of the use of rubber gloves, the invention of the "Roosevelt clamp," the first use by Thomas Bennett of the nitrous oxide-ether sequence and his subsequent development of the Bennett inhaler, and the development of the Connell Airway Anesthetometer by Dr. Karl Connell."
Design and Construction
The design of the Syms Operating Theater followed the very latest standards for a scientifically correct surgical operating theater. Syms was planned to serve several complex objectives and its simple exterior form belies the substantial complexity of the interior. Named for its dramatic focal point, the surgical amphitheater, the building also contained numerous additional rooms with varied requirements for light, air, and location. These included visitors' rooms, recovery rooms, living quarters for nurses and assistant surgeons, a decorated private chief surgeon's room, laboratory rooms, rooms for photography and
microscopes, two small operating rooms, surgeons' rooms, an ether room, various preparation rooms for bandages, instrument sterilization and storage, and separate circulation systems for visitors, the surgical staff, patients, and residents of the building. Visitors entered the building from the street; patients and medical staff entered via the connecting corridor to the surgical ward next door.
The Syms Operating Theater, a "fireproof" building,17 was built of loadbearing brick walls above a stone foundation with rolled-iron floor and roof beams and brick floor arches, and a slate roof. In addition, iron was used extensively for lintels and to create special spaces and features, notably the wheel-ramp leading from the amphitheater to the recovery room, and the amphitheater itself. The amphitheater, whose design was an innovative solution to the problem of lighting such spaces, had a semi-conical iron roof structure supporting tiers of skylights that provided diffused light without glare to the arena.
Exterior materials include Haverstraw brick with Trenton molded brick and terra-cotta details, granite window trim, copper downspouts, slate roofing, and "Hayes Skylights." Inside, "No device has been omitted to repel the invasion of dirt and dust...," to dispel dampness, or to admit light.
These devices included mosaic tile floors with curved corners, light colored impermeable wall surfaces of marble and painted hard plaster, cement floors in the amphitheater, floor traps, and a basement floor of cement mixed with felt to absorb moisture.
The building had a sophisticated heating and ventilating system operated from an engine room and a fan room in the basement. Important features of the system visible from the outside are the air intake tower which projects above the west wing of the building abutting the recovery rooms, brick chimneys in a symmetrical arrangement on either side of the amphitheater roof, and the massive exhaust chimney at the rear of the amphitheater roof.
In designing the exterior of the Syms Operating Theater the architect endeavored to make the building harmonize with its High Victorian Gothic style neighbors at Roosevelt Hospital in its setback from the street, the massing of its volumes, the contrasting use of red brick with light stone trim, and picturesque roof form. In particular, it related to the old Surgical Pavilion next door in the height of its one-story wings and in the rhythm and placement of its stone lintels.
While the round entrance arch and the main exhaust chimney recall the Romanesque, the overall design reflects the personal approach of the architect for hospital buildings. The principal features were decorative detail largely confined to variations of color and texture in flat walls, recessed windows which minimized
interior reveals, curved corners, and modest cornices. In 1892 when it opened, the restrained use of decorative detail was unusual for a prominent medical building. Most contemporary New York hospital buildings were more stylish and more lavishly ornamented, built generally for private paying patients or institutions with religious affiliations. Their designs may have been more fully in the hands of institutional benefactors or architects rather than doctors, and their outward appearances had more to do with aesthetic or conventional symbolic associations than with the practical function of a hospital. For example, Presbyterian Hospital, built in the Romanesque Revival Style at the same time as Syms, was designed by J.C. Cady and was a picturesque composition of Richardsonian elements that conveyed both an ecclesiastical and a club-like character to the building, and St. Luke's Hospital, designed by Ernest Flagg the year Syms opened employed a Beaux-Arts composition and French Baroque ornament in a sophisticated way that conveyed the power, permanence, and reliability of the institution.
In contrast to these, at Syms the exterior appearance was considered important but secondary to the primary scientific function of the building.20 Making a virtue of a restricted budget for its exterior, the design appears neither frugal nor lacking expressiveness, but serious and straightforward, evoking the high place of medical science in determining its form, and the priority of science over symbolism in the medical care to be provided within.
As a work of architecture, Syms must be seen in the context of hospital buildings and operating spaces not just in New York City but internationally. In this context it is a remarkable building representative of an alliance of medical science and architecture that produced some of the most advanced buildings of the 19th century.2-1
William Wheeler Smith22
William Wheeler Smith (1838-1908), designer of the Syms Operating Theater, practiced architecture in New York from 18 65 to 1908. During an unusually long career, he designed a number of notable buildings including the Collegiate Reformed Protestant Dutch Church (1872, demolished ca. 1933) at 48th Street and Fifth Avenue; the James White Building (1881), a cast-iron commercial structure, now a designated New York City landmark, at 361 Broadway; the W. & J. Sloane Store (1882), a large commercial structure now included in the Ladies Mile Historic District; and the Syms Operating Theater. Smith was successful and well regarded in his day but most of his major buildings have been demolished and little else survives to give us a full picture of his life and career.
Born in New York City, "Mr. Smith was described by his friends and associates as an 'old school architect' who had inherited the fondness and ability for his profession from his father, a well-known builder of this city.112 3 He apprenticed with one of the leading architects of the day, James Renwick, and studied at the University of London. He practiced on his own from about 1865 until his death in 1S08.
Along with his architectural practice Smith invested in real estate. He left an estate worth more than $3,000,000, almost all of which was to build "a country sanitarium for poor convalescents who must be sent away from St. Luke's [Hospital] before they have fully regained their strength."
Smith's philanthropic interest in hospitals was long standing. Over a period of many years he designed several buildings for Roosevelt Hospital including the Syms Operating Theater, without pay.
Smith's career seems to fall into two periods, an early period of general practice and a later period of specialization in hospital architecture and real estate development. The hospital and medical buildings, including the Sloane Maternity Hospital (1886), the College of Physicians and Surgeons (1888), and the Vanderbilt Clinic (1889) , all on the block across 59th Street from Roosevelt Hospital (and all demolished), and the McLane Operating Room (1890), the Accident Building (1898) (both demolished), the Syms Operating Theater, and Private Patients Pavilion (1896) of Roosevelt Hospital all resembled one another. A late project of Smith's was the Kingston Avenue Hospital in Brooklyn. A perspective rendering shows a pavilion plan hospital organized much like McKim, Mead, and White's Columbia College Campus and in the same general style.
Later History
Syms was refurbished in 1934 but remained an operating theater only until 1941 when the new Private Patients pavilion was opened with new surgical rooms. For some time, Roosevelt's role as a teaching hospital had been diminished, styles of teaching surgery had changed, and the theatrical presentation to large crowds was considered obsolete.
In 1942 the blood bank and mortuary of the Hospital were moved into Syms. In 1948, Syms was used as a temporary emergency room. In 1953 the rear portion of the building (17 feet 6 inches deep) was removed to make way for the new Tower Building, the upper tier of skylights was covered in copper sheets, the semi-opaque glass on the ground floor was replaced by clear glass, the amphitheater was gutted, and the building was occupied by the Department of Pathology.
Since that time, air-conditioning equipment has been placed in the front lawn, ducts have been run through several windows, parts ' of the areaway have been obstructed by pipes, trees have been allowed to grow in the front lawn, and the old amphitheater and other spaces have been remodeled to suit changing office and laboratory space needs of the Hospital.
Description
The Syms Operating Theater is a nearly rectangular structure at the southwest corner of West 59th Street and Ninth Avenue. The building is set back on its two street fronts behind narrow planted strips which are bordered along the sidewalk by an iron fence on a granite base with granite capped brick posts.
In its massing the building consists of a central block with an elongated semi-conical roof, one-story wings on either side, a narrow three-story L-shaped wing adjacent to the central block on the south and west sides, and a square air intake tower adjacent to the west side of this wing above the one-story wing.
The walls of the building are brick with curved corners. Brick is of two types, each laid in the same plane in Flemish bond and differentiated by their finish: smooth and evenly colored around windows and corners, rough and varicolored between windows. The smooth brick framing was in a form suggesting quoins creating two-story bays at the basement and first story levels. Windows have granite sills and lintels and occasional granite mullions in wider windows, sometimes with egg and dart moldings or block modillions of terra cotta.
The roof, whose distinctive form signals the amphitheater below, is crowned by a decorative iron finial in the form of a caduceus surmounted by a fleur-de-lis, and is clad in two tiers of skylights across the front, slate shingles on the sides, and tin flashing.
The roof is pierced by a large unadorned chimney in either flank, above the back wall of the amphitheater, and a massive exhaust chimney behind the amphitheater with a Romanesque corbelled cornice. The building is entered through a large rounded arch of glazed brick which is reached by a short flight of stairs. Above this arch is a granite panel with raised letters saying "The Wm. J. Syms Operating Theater of the Roosevelt Hospital, 1891."
Alterations
Today the exterior of the building is as built except for the loss of the entire south facade (the new facade abuts the adjacent Tower Building), the loss of the southernmost bays of the east and west facades, the addition of copper sheeting over the principal skylights, the presence of modern HVAC equipment, and the overgrowth of the lawn.
Although the alterations to the building are extensive (more so on the interior, which is not the subject of this designation, than on the exterior) and mostly irreversible, the visual character of this highly distinctive building is still largely intact. Its subtly decorated flat brick walls with rounded corners, its strong entranceway and name panel, its massing as visible from most angles, and especially the distinctive shape of its roof are all present.
- From the 1989 NYCLPC Landmark Designation Report
Famed for its dramatic rapids and canyons, the Colorado is one of the most desirable whitewater rivers in the United States A section of the river above Moab, known as the Colorado "Daily" or "Fisher Towers Section", is the most visited whitewater run in Utah, with more than 77,000 visitors in 2011 alone.
en.wikipedia.org/wiki/Colorado_River
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Day Two.
Stayed the night at a motel in Monterey, which is a nice town. Had a quick look at the place last night/evening.
"Monterey is a city on California’s rugged central coast. Its Cannery Row, one-time centre of the sardine-packing industry, was immortalized by novelist John Steinbeck. Today, it's a popular strip of gift shops, seafood restaurants and bars in converted factories" Wiki.
Heading south now on Route One again to our next motel in San Luis Obispo about 150 miles away.
First stop (not far from Monterey) is Carmel - "Carmel-by-the-Sea is a small beach city on California's Monterey Peninsula. It's known for the museums and library of the historic Carmel Mission, and the fairytale cottages and galleries of its village-like center, a famous place known for its natural scenery and rich artistic history" Wiki.
Back on the road and Route One we headed down and into the bit of coast called Big Sur.
"Big Sur is a rugged and mountainous section of the Central Coast of the U.S. state of California between Carmel Highlands and San Simeon, where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery. Big Sur has been called the "longest and most scenic stretch of undeveloped coastline in the contiguous United States"
It certainly lived up to the description! Amazing place to ride through/along!
Stopped at so many various vista points for pictures and posing etc!
We stopped for lunch at a place called Ragged Point -
"The tiny hamlet of Ragged Point where travellers are welcomed with a hotel, gourmet restaurant, a gas station, wedding facilities, hiking trails and outdoor cafe with an espresso bar. Towering high above the Pacific on a promontory with 400 foot sheer cliffs"
Unfortunately there was quite a bit of sea fret (low cloud) in the area, so our views were limited here..
Lunch was good too.. Met and chatted with another Harley biker on his way to San Diego.
Back on the road and continued down to San Luis Obispo to find our motel..
Once we had landed and sorted ourselves out, we went for a walk down into the town. One of the places we wanted to see was the (in)famous Bubblegum Alley. - "Bubblegum Alley is a tourist attraction in downtown San Luis Obispo, California, known for its accumulation of used bubble gum on the walls of an alley. It is a 15-foot (4.6 m) high and 70-foot (21 m) long alley lined with chewed gum left by passers-by. It covers a stretch of 20 meters in the 700 block of Higuera Street in downtown San Luis Obispo" Wiki.
We bought some food from a takeaway near our motel and ate that back in our room watching telly! Great day seeing so much beautiful coastline on the famous Route One!
The Colorado River is the principal river of the Southwestern United States and northwest Mexico. The 1,450-mile (2,330 km) river drains an expansive, arid watershed that encompasses parts of seven U.S. and two Mexican states. Rising in the central Rocky Mountains in the U.S., the river flows generally southwest across the Colorado Plateau and through the Grand Canyon before reaching Lake Mead on the Arizona–Nevada line, where it turns south toward the international border. After entering Mexico, the Colorado approaches the large Colorado River Delta where it naturally emptied into the Gulf of California between Baja California and Sonora, though it no longer reaches its delta or the sea.
Known for its dramatic canyons and whitewater rapids, the Colorado is a vital source of water for agricultural and urban areas in the southwestern desert lands of North America. The river and its tributaries are controlled by an extensive system of dams, reservoirs, and aqueducts, which divert 90% of its water in the U.S. alone to furnish irrigation and municipal water supply for almost 40 million people both inside and outside the watershed. The Colorado's large flow and steep gradient are used for generating hydroelectric power, and its major dams regulate peaking power demands in much of the Intermountain West. Since the mid-20th century, intensive water consumption has dried the lower 100 miles (160 km) of the river such that it has not consistently reached the sea since the 1960s.
Europeans first entered the Colorado Basin in the 16th century, when explorers from Spain began mapping and claiming the area, which later became part of Mexico upon its independence in 1821. Early contact between foreigners and natives was generally limited to the fur trade in the headwaters and sporadic trade interactions along the lower river. After the greater Colorado River basin became part of the U.S. in 1846, the bulk of the river's course was still largely the subject of myths and speculation. Several expeditions charted the Colorado in the mid-19th century, one of which, led by John Wesley Powell in 1869, was the first to run the rapids of the Grand Canyon. American explorers collected valuable information that would later be used to develop the river for navigation and water supply. Large-scale settlement of the lower basin began in the mid- to late-19th century, with steamboats providing transportation from the Gulf of California to landings along the Colorado River that linked to wagon roads into the interior of New Mexico Territory. Lesser numbers settled in the upper basin, which was the scene of major gold strikes in Arizona and Nevada in the 1860s and 1870s.
Major engineering of the river basin began around the start of the 20th century, with many guidelines established in a series of domestic and international treaties known as the "Law of the River". The U.S. federal government was the main driving force behind the construction of hydraulic engineering projects in the river system, although many state and local water agencies were also involved. Most of the major dams in the river basin were built between 1910 and 1970, and the system keystone, Hoover Dam, was completed in 1935. The Colorado is now considered among the most controlled and litigated rivers in the world, with every drop of its water fully allocated. The damming and diversion of the Colorado River system have been flashpoint issues for the environmental movement in the American Southwest because of their impacts on the ecology and natural beauty of the river and its tributaries. During the construction of Glen Canyon Dam, environmental organizations vowed to block any further development of the river, and a number of later dam and aqueduct proposals were defeated by citizen opposition. As demands for Colorado River water continue to rise, the level of human development and control of the river continues to generate controversy.
en.wikipedia.org/wiki/Colorado_River
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Don't be fooled! This seemingly captivating shot of Stonehenge on a rainy day, with its dramatic lighting and atmospheric puddles, is actually an AI creation. It's incredible how far artificial intelligence has come in generating photorealistic images, isn't it? The details, from the faint glow of the ancient columns to the reflections of the "tourists" in the water, are so convincing that it's easy to mistake it for a genuine photograph.
This image was created from a detailed text description, bringing to life a scene that perfectly blends warm and cool tones to evoke a sense of tension between enduring history and a fleeting stormy moment. It really makes you wonder: what does this mean for photography as we know it? And how will we distinguish between what's real and what's rendered in the future?
Midtown Manhattan
The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image.
HISTORY OF CONSTRUCTION
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."
In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave.
In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors.
By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower.
The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet.
Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932.
The Chrysler Building and Art Deco
Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country.
The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925.
In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building.
In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result.
Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme.
The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp.
Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.
One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow.
Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.
On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design.
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Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh.
Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street.
For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces.
The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces.
The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below.
The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types.
All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.
The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters.
At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.
All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings.
The Chrysler Building and the Image of Progress
When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:
The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions.
The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home.
As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future.
The Chrysler Building is therefore dedicated as a sound contribution to business progress.
The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense.
In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer.
The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country.
- From the 1978 NYCLPC Landmark Designation Report
Upper West Side, Manhattan, New York City, New York, United States
The William J. Syms Operating Theater, built 1890-1892, was the most advanced operating theater in the world when it opened and one of the first equipped for aseptic surgery. The result of a collaboration of the architect William Wheeler Smith and the prominent American surgeon Charles McBurney, the building represented the attempt in the 19th century to reconcile architecture with technological advances.
The appearance of the building, subtle and simple in detail but striking in its massing, especially in the form of its semi-conical roof, is expressive of the unusual functional demands of the building, an effort to harmonize the design with the other Roosevelt Hospital buildings, and the well-developed personal style of the architect for medical buildings.
Syms was the fourth of several major pavilions (see below) built as part of the pavilion plan 'of Roosevelt Hospital begun in 18 69, and as such is both part of one of the earliest pavilion plan hospitals in America, and a rare early survivor of a once highly influential approach to hospital design. Syms was the center of medical education in New York City in its early years, and it was the site of numerous advances in surgical practice at a time when modern surgery was taking shape.
Roosevelt Hospital
The Syms Operating Theater was one of a series of pavilions built according to the original pavilion plan of Roosevelt Hospital. The pavilion plan was an important early step, proposed by the French Academy of Sciences in 1788 but not executed until much later, in applying scientific knowledge to the design of hospitals. At first it called for small parallel two-story buildings, called pavilions, set in a symmetrical plan oriented for access to light and air.
Disease and infections were believed to be carried in vapors, odors, dirt, and other "miasms" which were dispelled by light and goo d ventilation. Later, improved lighting and mechanical ventilation systems led to the acceptance of larger pavilion buildings. Syms' location, siting, massing, and exterior detail as well as its institutional history all relate to the original plan for Roosevelt Hospital and to the architecture of its early buildings.
Roosevelt Hospital was established by the bequest of James Henry Roosevelt (1800-1863) who left about $1,000,000 to build a hospital "for the reception and relief of sick and diseased persons."2 Roosevelt Hospital occupies the full block bounded by 58th and 59th Streets and Ninth and Tenth Avenues. Although the land was part of the 1811 Commissioners Plan of Streets, 59th Street was only opened in 1851, and in 1866 when Roosevelt Hospital bought its site the area was still mostly scattered houses and small farms. The trustees of the hospital adopted the pavilion plan in 1866. This was among the earliest in the United States and, as far as is known, the first in New York City.
Although no early plan of the hospital survives, the original intention was to build a series of four parallel pavilions. In the first building campaign (1869-72), the prominent New York architect, Carl Pfeiffer, designed all the major buildings, three pavilions along 59th Street. They were built in the High Victorian Gothic Style with red brick walls and light colored "Ohio Stone" trim, and had lively roof lines. The one-story Surgical Pavilion next to the future site of the Syms Operating Theater was the smallest and most simply detailed of the group. The pavilion plan was largely adhered to in several expansions of the hospital, including a group of buildings designed by W. Wheeler Smith in the 1880s and 1890s, until about 1940.
Surgery, Medical Education, and Operating Theaters
In the 19th century, surgery developed from a remedy of last resort to a common medical procedure, in part due to the introduction of anesthesia in 1847 and to the development of two theories of modern surgery, antiseptic surgery developed by Joseph Lister in 1867, followed by aseptic surgery about 1890. The operating theater was developed in the early 19th century on the model of anatomical theaters which had been the center of medical training since the Renaissance.
In the 1870s, many new operating theaters, including the first one at Roosevelt Hospital, were built for the rapidly growing population of student surgeons. Usually incorporated in larger hospital buildings but occasionally occupying their own pavilions, these were well-ventilated wood rooms, often decorated, amply lit by large windows and gas lamps, which accommodated up to 3 00 observers. The best-known operating theater of this generation was at Johns Hopkins Hospital in Baltimore, built between 1877 and 1885.
These were superseded by a new generation of operating theaters about 189 0 for aseptic surgery, among the very first of which were the McLane Operating Room^ (now demolished), designed in 18 9 0 by W. Wheeler Smith at Roosevelt Hospital for gynecological surgery, and the Syms Operating Theater. These had improved heat and ventilation from mechanical forced air systems, improved lighting from electric lights, and, with the understanding that absolute cleanliness was essential, smooth, impervious materials for all surfaces.
Aseptic operating rooms were bright, clean, hard, undecorated spaces, they were the "high tech" spaces of their day. They utilized the latest technology to produce places suitable for the latest medical practices in a rapidly changing period.
History of Syms Operating Theater
The Syms Operating Theater was built with $3 50,000 left by William J. Syms (1818-89), $250,000 to build the theater and the remainder to be invested as an endowment for its work. Syms expressed in his will the desire to erect an operating theater which would be "an enduring monument to himself" and of "great service to suffering humanity."8
Syms was a partner in the New York firm of Blunt and Syms, for more than 2 5 years the largest gunmaker and dealer in New York. Syms was also a founder of the Metropolitan Gas Company and the Forty-second and Grand Street Railroad Company, and he was President of the Franklin Telegraph Company and Vice-president of the Atlantic and Pacific Telegraph Company. At his death, the Times said that he was' "one of the largest land and house owners" in New York.
Syms stipulated that the surgeon, Dr. Charles McBurney (1845-1913) would have complete charge of the building's design and operation. McBurney was a prominent New York surgeon and professor at the College of Physicians and Surgeons.
In the year before William Syms died, McBurney achieved international recognition for his identification of the diagnostic point on the abdomen for appendicitis, still called "McBurney's Point." In his years at Syms, he described "McBurney's Incision," a method for removing the appendix, and made numerous other well publicized advances in the practice of surgery. Under McBurney, Syms became a world renowned center for surgeons. McBurney had been called when President McKinley was shot because of his long experience in treating such cases at Roosevelt Hospital.
Indeed, McBurney took an active role in the design of the Syms Operating Theater. He made a tour of the most modern operating facilities in Europe and America including "all the large hospitals in England, France, Germany, Austria, and Switzerland" and worked closely with the architect, W. Wheeler Smith, in the design of Syms. It appears that McBurney wrote a detailed program for the building and closely critiqued Smith's plans, finally accepting a fourth effort.13
Application for a building permit was made on October 15, 1890 and the building was completed on October 17, 1890. It opened on November 3, 1892 and at that time was considered the most advanced operating theater in the world.
In addition to "McBurney's Incision," described above, which was developed largely at Syms, a number of other notable surgical advances were made here. These included the popularization of the use of rubber gloves, the invention of the "Roosevelt clamp," the first use by Thomas Bennett of the nitrous oxide-ether sequence and his subsequent development of the Bennett inhaler, and the development of the Connell Airway Anesthetometer by Dr. Karl Connell."
Design and Construction
The design of the Syms Operating Theater followed the very latest standards for a scientifically correct surgical operating theater. Syms was planned to serve several complex objectives and its simple exterior form belies the substantial complexity of the interior. Named for its dramatic focal point, the surgical amphitheater, the building also contained numerous additional rooms with varied requirements for light, air, and location. These included visitors' rooms, recovery rooms, living quarters for nurses and assistant surgeons, a decorated private chief surgeon's room, laboratory rooms, rooms for photography and
microscopes, two small operating rooms, surgeons' rooms, an ether room, various preparation rooms for bandages, instrument sterilization and storage, and separate circulation systems for visitors, the surgical staff, patients, and residents of the building. Visitors entered the building from the street; patients and medical staff entered via the connecting corridor to the surgical ward next door.
The Syms Operating Theater, a "fireproof" building,17 was built of loadbearing brick walls above a stone foundation with rolled-iron floor and roof beams and brick floor arches, and a slate roof. In addition, iron was used extensively for lintels and to create special spaces and features, notably the wheel-ramp leading from the amphitheater to the recovery room, and the amphitheater itself. The amphitheater, whose design was an innovative solution to the problem of lighting such spaces, had a semi-conical iron roof structure supporting tiers of skylights that provided diffused light without glare to the arena.
Exterior materials include Haverstraw brick with Trenton molded brick and terra-cotta details, granite window trim, copper downspouts, slate roofing, and "Hayes Skylights." Inside, "No device has been omitted to repel the invasion of dirt and dust...," to dispel dampness, or to admit light.
These devices included mosaic tile floors with curved corners, light colored impermeable wall surfaces of marble and painted hard plaster, cement floors in the amphitheater, floor traps, and a basement floor of cement mixed with felt to absorb moisture.
The building had a sophisticated heating and ventilating system operated from an engine room and a fan room in the basement. Important features of the system visible from the outside are the air intake tower which projects above the west wing of the building abutting the recovery rooms, brick chimneys in a symmetrical arrangement on either side of the amphitheater roof, and the massive exhaust chimney at the rear of the amphitheater roof.
In designing the exterior of the Syms Operating Theater the architect endeavored to make the building harmonize with its High Victorian Gothic style neighbors at Roosevelt Hospital in its setback from the street, the massing of its volumes, the contrasting use of red brick with light stone trim, and picturesque roof form. In particular, it related to the old Surgical Pavilion next door in the height of its one-story wings and in the rhythm and placement of its stone lintels.
While the round entrance arch and the main exhaust chimney recall the Romanesque, the overall design reflects the personal approach of the architect for hospital buildings. The principal features were decorative detail largely confined to variations of color and texture in flat walls, recessed windows which minimized
interior reveals, curved corners, and modest cornices. In 1892 when it opened, the restrained use of decorative detail was unusual for a prominent medical building. Most contemporary New York hospital buildings were more stylish and more lavishly ornamented, built generally for private paying patients or institutions with religious affiliations. Their designs may have been more fully in the hands of institutional benefactors or architects rather than doctors, and their outward appearances had more to do with aesthetic or conventional symbolic associations than with the practical function of a hospital. For example, Presbyterian Hospital, built in the Romanesque Revival Style at the same time as Syms, was designed by J.C. Cady and was a picturesque composition of Richardsonian elements that conveyed both an ecclesiastical and a club-like character to the building, and St. Luke's Hospital, designed by Ernest Flagg the year Syms opened employed a Beaux-Arts composition and French Baroque ornament in a sophisticated way that conveyed the power, permanence, and reliability of the institution.
In contrast to these, at Syms the exterior appearance was considered important but secondary to the primary scientific function of the building.20 Making a virtue of a restricted budget for its exterior, the design appears neither frugal nor lacking expressiveness, but serious and straightforward, evoking the high place of medical science in determining its form, and the priority of science over symbolism in the medical care to be provided within.
As a work of architecture, Syms must be seen in the context of hospital buildings and operating spaces not just in New York City but internationally. In this context it is a remarkable building representative of an alliance of medical science and architecture that produced some of the most advanced buildings of the 19th century.2-1
William Wheeler Smith22
William Wheeler Smith (1838-1908), designer of the Syms Operating Theater, practiced architecture in New York from 18 65 to 1908. During an unusually long career, he designed a number of notable buildings including the Collegiate Reformed Protestant Dutch Church (1872, demolished ca. 1933) at 48th Street and Fifth Avenue; the James White Building (1881), a cast-iron commercial structure, now a designated New York City landmark, at 361 Broadway; the W. & J. Sloane Store (1882), a large commercial structure now included in the Ladies Mile Historic District; and the Syms Operating Theater. Smith was successful and well regarded in his day but most of his major buildings have been demolished and little else survives to give us a full picture of his life and career.
Born in New York City, "Mr. Smith was described by his friends and associates as an 'old school architect' who had inherited the fondness and ability for his profession from his father, a well-known builder of this city.112 3 He apprenticed with one of the leading architects of the day, James Renwick, and studied at the University of London. He practiced on his own from about 1865 until his death in 1S08.
Along with his architectural practice Smith invested in real estate. He left an estate worth more than $3,000,000, almost all of which was to build "a country sanitarium for poor convalescents who must be sent away from St. Luke's [Hospital] before they have fully regained their strength."
Smith's philanthropic interest in hospitals was long standing. Over a period of many years he designed several buildings for Roosevelt Hospital including the Syms Operating Theater, without pay.
Smith's career seems to fall into two periods, an early period of general practice and a later period of specialization in hospital architecture and real estate development. The hospital and medical buildings, including the Sloane Maternity Hospital (1886), the College of Physicians and Surgeons (1888), and the Vanderbilt Clinic (1889) , all on the block across 59th Street from Roosevelt Hospital (and all demolished), and the McLane Operating Room (1890), the Accident Building (1898) (both demolished), the Syms Operating Theater, and Private Patients Pavilion (1896) of Roosevelt Hospital all resembled one another. A late project of Smith's was the Kingston Avenue Hospital in Brooklyn. A perspective rendering shows a pavilion plan hospital organized much like McKim, Mead, and White's Columbia College Campus and in the same general style.
Later History
Syms was refurbished in 1934 but remained an operating theater only until 1941 when the new Private Patients pavilion was opened with new surgical rooms. For some time, Roosevelt's role as a teaching hospital had been diminished, styles of teaching surgery had changed, and the theatrical presentation to large crowds was considered obsolete.
In 1942 the blood bank and mortuary of the Hospital were moved into Syms. In 1948, Syms was used as a temporary emergency room. In 1953 the rear portion of the building (17 feet 6 inches deep) was removed to make way for the new Tower Building, the upper tier of skylights was covered in copper sheets, the semi-opaque glass on the ground floor was replaced by clear glass, the amphitheater was gutted, and the building was occupied by the Department of Pathology.
Since that time, air-conditioning equipment has been placed in the front lawn, ducts have been run through several windows, parts ' of the areaway have been obstructed by pipes, trees have been allowed to grow in the front lawn, and the old amphitheater and other spaces have been remodeled to suit changing office and laboratory space needs of the Hospital.
Description
The Syms Operating Theater is a nearly rectangular structure at the southwest corner of West 59th Street and Ninth Avenue. The building is set back on its two street fronts behind narrow planted strips which are bordered along the sidewalk by an iron fence on a granite base with granite capped brick posts.
In its massing the building consists of a central block with an elongated semi-conical roof, one-story wings on either side, a narrow three-story L-shaped wing adjacent to the central block on the south and west sides, and a square air intake tower adjacent to the west side of this wing above the one-story wing.
The walls of the building are brick with curved corners. Brick is of two types, each laid in the same plane in Flemish bond and differentiated by their finish: smooth and evenly colored around windows and corners, rough and varicolored between windows. The smooth brick framing was in a form suggesting quoins creating two-story bays at the basement and first story levels. Windows have granite sills and lintels and occasional granite mullions in wider windows, sometimes with egg and dart moldings or block modillions of terra cotta.
The roof, whose distinctive form signals the amphitheater below, is crowned by a decorative iron finial in the form of a caduceus surmounted by a fleur-de-lis, and is clad in two tiers of skylights across the front, slate shingles on the sides, and tin flashing.
The roof is pierced by a large unadorned chimney in either flank, above the back wall of the amphitheater, and a massive exhaust chimney behind the amphitheater with a Romanesque corbelled cornice. The building is entered through a large rounded arch of glazed brick which is reached by a short flight of stairs. Above this arch is a granite panel with raised letters saying "The Wm. J. Syms Operating Theater of the Roosevelt Hospital, 1891."
Alterations
Today the exterior of the building is as built except for the loss of the entire south facade (the new facade abuts the adjacent Tower Building), the loss of the southernmost bays of the east and west facades, the addition of copper sheeting over the principal skylights, the presence of modern HVAC equipment, and the overgrowth of the lawn.
Although the alterations to the building are extensive (more so on the interior, which is not the subject of this designation, than on the exterior) and mostly irreversible, the visual character of this highly distinctive building is still largely intact. Its subtly decorated flat brick walls with rounded corners, its strong entranceway and name panel, its massing as visible from most angles, and especially the distinctive shape of its roof are all present.
- From the 1989 NYCLPC Landmark Designation Report
Midtown Manhattan
The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image.
HISTORY OF CONSTRUCTION
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."
In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave.
In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors.
By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower.
The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet.
Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932.
The Chrysler Building and Art Deco
Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country.
The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925.
In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building.
In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result.
Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme.
The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp.
Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.
One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow.
Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.
On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design.
-
Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh.
Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street.
For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces.
The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces.
The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below.
The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types.
All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.
The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters.
At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.
All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings.
The Chrysler Building and the Image of Progress
When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:
The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions.
The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home.
As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future.
The Chrysler Building is therefore dedicated as a sound contribution to business progress.
The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense.
In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer.
The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country.
- From the 1978 NYCLPC Landmark Designation Report
Midtown Manhattan
The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image.
HISTORY OF CONSTRUCTION
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."
In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave.
In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors.
By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower.
The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet.
Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932.
The Chrysler Building and Art Deco
Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country.
The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925.
In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building.
In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result.
Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme.
The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp.
Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.
One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow.
Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.
On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design.
-
Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh.
Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street.
For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces.
The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces.
The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below.
The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types.
All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.
The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters.
At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.
All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings.
The Chrysler Building and the Image of Progress
When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:
The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions.
The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home.
As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future.
The Chrysler Building is therefore dedicated as a sound contribution to business progress.
The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense.
In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer.
The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country.
- From the 1978 NYCLPC Landmark Designation Report
Midtown Manhattan
The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image.
HISTORY OF CONSTRUCTION
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."
In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave.
In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors.
By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower.
The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet.
Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932.
The Chrysler Building and Art Deco
Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country.
The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925.
In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building.
In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result.
Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme.
The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp.
Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.
One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow.
Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.
On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design.
-
Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh.
Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street.
For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces.
The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces.
The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below.
The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types.
All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.
The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters.
At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.
All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings.
The Chrysler Building and the Image of Progress
When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:
The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions.
The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home.
As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future.
The Chrysler Building is therefore dedicated as a sound contribution to business progress.
The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense.
In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer.
The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country.
- From the 1978 NYCLPC Landmark Designation Report
Clinton Avenue, Clinton Hill, Brooklyn, New York City, New York, United States
DESCRIPTION AND ANALYSIS
In the last decades of the 19th century the city of Brooklyn developed into one of the largest and wealthiest urban centers in the United States. The affluence of the city was reflected in the size and quality of the buildings erected in its residential neighborhoods during the last quarter of the century.
Substantial mansions and rowhouses were erected throughout Brooklyn, but even more important as symbols of the city's established success were grand public monuments such as clubs, schools, philanthropic and cultural institutions, and, most importantly, churches. St. Luke's Protestant Episcopal Church, built in 1888-91 on Clinton Avenue, one of Brooklyn's most elite thoroughfares, is among the largest and finest of the ecclesiastical structures built in the city during the 19th century, and, like the other major buildings from the period, it reflects a sense of optimism in Brooklyn's future.
During the course of the 19th century, Brooklyn developed from a small rural village and farming center into the third most populous city in America. With the advent of reliable ferry service between New York City and Brooklyn, beginning in the 1820's, Brooklyn began to attract middle-class families who were, seeking residential areas that were separate from the commercial life of the city. In New York City, the expansion of business sections into once elegant residential neighborhoods caused the population to more farther and farther north. As land values on Manhattan Island rose, many people chose to move elsewhere. Brooklyn became the choice location for those who found life in New York City to be unpleasant or who could not afford to live in Manhattan. Brooklyn never developed an extensive commercial center, relying instead on New York City for business activity. Thus, Brooklyn became almost entirely a residential community. At the end of the century one historian wrote:
Brooklyn has always been an adjunct of the metropolis rather than a city with a complete civic life of its own, a dwelling-place for business folk and employees who possess moderate incomes, and those of greater means who abhor the feverish and artificial joys of the modern Babel. It is a vast aggregation of home and family life, and of the social pleasures thai: appertain thereto. There is little to be seen in Brooklyn save the streets and avenues, hundreds of miles of them, filled with rows of dwelling houses ....All of Brooklyn, indeed, with the exception of the waterside streets and range of cloud piercing office buildings [in the Down town area]... is the exclusive domain of women and children during the daylight hours.
Daring the 19th century tens of thousands of substantial dwellings were erected in Brooklyn to house this new population. As each .residential section began to develop, church organizations were founded to lend a requisite moral tone to the new neighborhood and fulfill the. spiritual needs of the populace. The tremendous growth of Brooklyn during the 19th. century created fertile ground for the development of new church societies and the erection of fine new church buildings. By 1850, the appellation "City of Churches" had been applied to Brooklyn.
During the period prior to the Civil War, major architects designed fine church buildings in Brooklyn, but few of these were on the scale of those in neighboring New York City. After the Civil War, however, as Brooklyn's wealth increased, its church buildings began to rival those of New York. Churches in the exclusive neighborhoods of Clinton Hill, Brooklyn Heights, Park Slope, and Grant Square/St. Marks, such as Sr.. Luke's Episcopal Church, the Emmanuel Baptist Church (1887), the First Dutch Reformed Church (1887-89), and the New York Avenue Methodist Episcopal Church (1889-92) are of the scale and architectural sophistication of contemporary churches built in the other large cities of America.
The Church of St. Luke and St, Matthew traces its roots to the founding of Trinity P.E. Church, Brooklyn, in 1835. Soon after its organization. Trinity built a substantial church building on the west side of Clinton Avenue between Fulton Street and Atlantic Avenue. The church was a rubble-stone structure designed in a vernacular Greek Revival style with stone pilasters, a square tower, and a steeple. At the time of its construction, the area surrounding Trinity was a sparsely populated farming neighborhood located at a great distance from the settled parts of Brooklyn. Unfortunately, the Clinton Hill section did not have a population that was large enough to support such a substantial building and the congregation was forced to disband. On December 14, 1841, a new Episcopal organization, St. Luke's Protestant Episcopal Church, was organized in the area and on February 1, 1842, the vestry of the new church voted to purchase the property of Trinity Church. This proved to be a wise investment, for by the 1850s wealthy families had begun to move into Clinton Hill, erecting large homes along Clinton Avenue, such as the picturesque Italian Villa that still stands to the south of the church at 532 Clinton Avenue. Clinton Avenue attracted wealthy families because it had one of the highest elevations in Brooklyn and was, therefore, considered to be extremely healthy. In addition, the street had been laid out in the 1820s as a wide tree-lined boulevard suitable for the residences of affluent families.
By 1853 the former Trinity Church building was found to be too small for the growing congregation of St. Luke's and the vestry commissioned an extension from the noted ecclesiastical architectural firm of Wills & Dudley. Frank Wills and Henry Dudley were among the most prominent, architects of Episcopal churches in America during the mid-19th century. Either separately, or in partnership, they designed a large number of Episcopal churches in New York, including St. Mary's, Staten Island (1853), St, George's, Flushing (1854), and St. James', Fordham (1861-65). Wills & Dudley's plan for St. Luke's called for enlarging the rectangular Greek Revival church into a cruciform structure. With financial assistance from Trinity Church, New York, this work was soon completed, although the church was not consecrated until 1883 when its building debt was paid off.
On November 27, 1887, five years after the consecration of the enlarged church, a fire destroyed or seriously damaged the building. Shortly after the fire the vestry considered rebuilding the church, but by January 1888 they had begun to entertain the idea of erecting a now church edifice. On January 16, 1888 the vestry minutes record that a member of the parish had offered to build and equip a Sunday school on the lot to the south of the church "free from any expense of any kind to the corporation. This proposal was submitted to the church by Colonel Henry P. Martin, one of the congregation's wealthiest members, on the condition that the vestry agree to erect a new church building on the site of the old structure. The vestry readily acquiesced to Martin's proposal so long as "the party making it will agree that his building shall be made to conform in style of architecture to that selected for the new church and provided that the plans of such building shall be first submitted and approved of by the Vestry or a Committee duly authorized by them. Martin agreed, and on January 19, 1888, he presented a certified check for $40,000 to the vestry of the church. Martin donated the money for the Sunday school as a memorial to his daughter who had recently died. Her initials, "EMM," are carved into the cornerstone of the building and her portrait is carved on the column capitals that support the entrance porch.
The vestry solicited plans for the new Sunday school from several prominent Brooklyn architects including John Welch, Rudolph Daus, and J.W. Walter. On February 24, 1888 Welch's Italian Romanesque style design was selected. John Welch (1824-1894) was born in Scotland and received his architectural training in Scotland and in England. He immigrated to America in 1849, settling in Newark, New Jersey. In Newark, Welch established himself as a church architect, designing a number of notable Greek Revival and Gothic Revival style churches. Of special note is Welch's South Park Presbyterian Church (now Park-Calvary United Presbyterian Church) of 1853-55, a superb Greek Revival style structure with twin round towers. In about 1860, Welch is thought to have moved to Brooklyn. There are five churches still standing in Brooklyn that are known to have been designed by Welch, all dating from the 1880s. The earliest of these are Gothic Revival style structures, such as the Janes M.E. Church oft Monroe Street and Re id Avenue, that reflect a lingering influence of Victorian Gothic polychromy, particularly atone banding. In the late 1880s Welch's work began to show the influence of the Romanesque Revival and he designed three churches in an extremely bold and personal version of the style. Although his late churches are his finest, Welch's career seems to have declined. His obituary records that "owing to financial difficulties, Mr. Welsh [sic] lived in poor circumstances, and had been peddling books for a living."
Besides St. Luke's, Welch's other major Brooklyn buildings are the First Methodist Episcopal Church, known as the Sands Street Memorial Church (now demolished), erected between 1889 and 1891 in Brooklyn Heights, and All Saints P.E. Church (1892-93) at the corner of Seventh Avenue and 7th Street in Park Slope. The idiosyncratic Sands Street Church was a Romanesque Revival style structure with an unusual fenestration pattern, a monumental round-arched corner entrance, and a large square tower placed at one end of the building, AM Saints P.E. Church, Welch's last known church design, combines Romanesque, Gothic, and Egyptian motifs to create one of the more singular ecclesiastical structures in New York City.
Although Welch's plans for the Sunday school of St. Luke's were accepted by the vestry, they proved to be very expensive; the lowest bid for construction was $45,900 exclusive of heating and furnishing. Welch was« asked to modify the plans so that the building would cost no more than $35,000. Ground was finally broken for the building in July 1888 and construction continued while plans were discussed for the erection of the adjoining church.
Welch's designs for the church were extremely sumptuous. They included a huge sanctuary with marble: columns, a monumental facade composed of a variety of materials, and a tall corner tower.
In order to construct this building the congregation would have had to secure a large loan and a heavy mortgage. By October 1888, the vestry had realized that the church could not handle such an extensive debt, In November the vestry minutes noted that "Building project should be revived on basis of a smaller church, less expensive exterior, omission of tower for the present and a cost not exceeding $40,000."® Welch submitted new plans for the building that omitted the tower and replaced the interior marble columns with columns of yellow pine that were to be painted in imitation of marble.
As construction proceeded on the. new church, money was acquired for the enlargement and improvement of the chancel of the old building which had survived the fire. According to the. vestry minutes "the chancel is to be deepened 8 feet and the roof of the choir and sanctuary raised to a height that will correspond with the height of the new nave." It is not clear whether Welch was responsible for this alteration, although it seems likely. In addition to the church arid Sunday school buildings, Welch designed the Woolsey Memorial Hall, which is connected to the rear of the main building, on Vanderbilt Avenue. This simple building, designed in 1888 and constructed in 1889-90, was paid for by the Church Guild and Auxiliary.
Welch's designs for St. Luke's church, chapel and Sunday school are loosely based on the Romanesque churches build in northern Italy, particularly in. Emilia and the Veneto, during the 12th century. Welch had traveled in Italy and had a first-hand knowledge of Italian Romanesque architecture. In its 1889 discussion of St. Luke's Church an article in the Churchman noted that "long training arid examination, of church architecture in England and on the Continent, with special study in. Italy, had made him a master and he has in the present work given expression to the idea of the Italian Romanesquewith eminent success.
Like most late 19th-century American architects who designed buildings based on -historic precedents, Welch did not imitate i. specific building. He combined forms and dc-tails common to Italian Romanesque churches, but in a manner that bespoke not the 12th century, but the religious needs of an urban parish in the 19th century . The scale of St, Luke ' s , the combination of a church and Sunday school, the use of varied materials creating a subtle polychromatic effect on the front facade, and the arrangement of the decorative ornament are all 19th-century devices, merely cloaked in an Italian Romanesque veneer.
Welch's church is basc-d on the basilican plans of Romanesque churches, but the plan has been accommodated to the need;- of the Episcopal liturgy by the addition of transepts and a deep chancel.. The front facade, with its wide nave, projecting round-arched entrance porch, large wheel window, corbelled cornice, and octagonal towerlettes has many precedents in Italian Romanesque churches including such monuments as Modena Cathedral and S. Zeno, Verona, both of which date from the 12th century.
St. Luke's, however, is not an imitation of these churches, but is instead an adaptation of certain design motifs found on these and contemporary buildings.
In America, the Romanesque Revival style was first used for an Episcopal Church by architect Henry Hobson Richardson at his Trinity Church, Bos ton, built between 1873 and 1877.- At Trinity. Richardson introduced a completely new style of architecture. The church is a massive structure constructed of contrasting heavy stone blocks of red and pink stone loosely based on French Romanesque prototypes. Trinity, and Richardson'e later buildings, had a dramatic influence on the course of American architecture. In the 1880s many Episcopal churches were designed in variations of the Romanesque, style, although the Romanesque never totally supplanted the Gothic sl;yle as the primary source for church architecture.
Certain major Niew York architects, particularly William Potter, made use of tbo Romanesque forms and color spectrum devised by Richardson. Ocher architects, however, while indebted to Richardson for establishing the stylistic trend, used the Romanesque forms in a more personal manner. This is true for example of R.H. Robertson who designed some of his finest churches in the Romanesque Revival style , As Montgomery Schuyler noted, Robertson's church architecture "owes little if anything to the work or Richardson beyond the suggestion of its general style." Welch too falls into this category, using the vocabulary of the Romanesque, but in an individual way.
The design for St. Luke's is no more derivative of a Richardson church than it is of a 12th-century Italian ohurch. The design shows the influence of both these stylistic types, but it is an original and exciting statement in its own right.
One of the more unusual features of St. Luke's is the use of six carefully modulated materials on the. facade. These varieties of rough and smooth stone and terra cotta serve to create a subtle drama on the building. The church has a soft grayish cast enlivened by stone details in brown and white and ornate gray terra cotta. Splashes of brighter color mark the entrances to both the church building and the chapel and Sunday school structure.
These entrances are flanked by columns of pale reddish Scotch granite. The twin columns that support the round corner towers of the main church were said to have been the largest blocks of Scotch granite ever imported into this country.
The first phase of construction, dating from 1S88 to 1889, included the chapel and Sunday school building paid for by Colonel Martin and the two-story cloister that links the church and chapel. This section was financed by the. congregation of St. Luke's. The chapel is a two-story, peaked-roof structure anchored by a tall square tower with a pyramidal root". The building is entered through a recessed, triple-arched porch supported by columns of Scotch granite.
The carved capitals of the central columns are in the form of female heads that are supposed to be. portrait busts of Col. Martin's deceased daughter. These capitals are carx'ed of light-colored stoue-and are the focal point of the entrance porch. Recessed behind the porch is the entrance to the building with its paneled dovible doors and pairs of stained-glass windows.
Above the porch are three tall, narrow, round-orched windows separated by attenuated colonnettes with capitals carved with religious symbols. A round-arched corbelled cornice that culminates ir- a niche once capped by a cross runs along the roofline of the building. Welch's original plan called for a series of small round-arched windows in this area rather than the blind arches now present.
These windows were undoubtedly removed from the plans when Welch was requested to simplify the design.
The beautifully modeled tower of the chapel is based on the campanile bell towers found on Italian Romanesque churches, and it is a sophisticated essay it; the use of round arches. Excluding the roof, the ivy-covered tower is divided into four levels; a battered base with a single round-arched opening; a tall second level articulated by long narrow arches; a short intermediate stage that rises above the roof of the chapel and is surrounded by a continuous arcade of tiny arches resting on dwarf columns; and an open belfry with paired arches on each face.
A corbelled cornice above the open arches supports the steep sloping roof.
The chapel is connected to the main sanctuary by a two-story cloister. On its first floor level, this cloister is supported by an arcade of four arches,two of which are open and lead to an entrance and two of which are enclosed. This arcade continues the line of the arched chapel entrance and visually links it to the entrance portico of the church. The second floor of this connecting element is rigidly symmetrical, with a pair of centrally-placed rectangular windows enframed by narrow colonnettes of white-colored stone.
This group of windows is flanked by crisply-cut rectangular openings. A particularly deep corbelled cornice runs along the roofline of the cloister. Welch's original design called for a small gable with a wheel window in the center of the cloister, This gable would have echoed the form of the chapel and church roofs and added a further visual link between the two sections. Undoubtedly the gable was removed from the plans when the vestry requested that Welch lower the construction costs.
In 1889 construction began of the main church. When it was completed in 1891, Clinton Avenue was graced by one of New York City's finest ecclesiastical monuments. The sanctuary is entered through en impressive projecting round-arched portal supported by clustered columns of Scotch granite.
This portal, with its wide central arch and flanking narrow arches, is in the form of a grand triumphal arch. The main arch is ornamented with a series of Romanesque-inspired decorative forms including a band of intertwining foliage, a rope molding, and a dog-tooth molding, Above the arch is a pediment with terra-cotta panels of foliate design. The entrance portal leads to the main doors with their stained-glass roundel panels and transom lights.
To either side of the portal are squat columns of Scotch granite that support projecting towerlettes. Each towerlette is divided into two main sections — an austere round base and an octagonal drum articulated by elongated colonnettes and topped by an octagonal cap with a crowning crocket.
These caps were originally designed to be steep, sloping pinnacles, but their design was changed when it was decided to eliminate the north tower. The projecting towerlettes frame the large wheel window that is the main focus of the church facade. The window has a diameter of twenty-eight feet, making it one of the largest in. Brooklyn. Wooden tracery in the form of dwarf columns and round arches divides the wheel window into twelve bud-shaped lights, twelve small round outer lights, and a central roundel.
These lights are filled with stained-glass windows depicting cherub heads. The wheel is set within a compound arch ornamented with a variety of Romanesque chevron moldings. A corbelled cornice and cross form the crowning element of the front facade.
Welch's original plan for St. Luke's called for a massive, two-hundred foot, six-stage tower to be built adjoining the north side of the church. The tower would have had a battered base, round-arched openings, gables, pinnacles, and an extremely steep roof crowned by an ornate iron cresting and finial.
If the tower had been built it would have hidden the north side aisle, clerestory, and transept from view. Now, however, the side aisle with its paired round-arched windows, the clerestory with its slate siding and triplet windows topped by single roundels, and the transept are visible.
On October 17, 1891, the congregation of St. Luke's celebrated the solemn opening of its sumptuous new church. The church was not consecrated, however, until October 19, 1896, when the building debt was paid off. Little expense was spared in making the interior of the church-as beautiful and comfortable as possible, The church was one of the first buildings in Brooklyn to be lit by electricity. On December 8, 1890, the church signed a contract with the Edison Electric Illuminating Company of Brooklyn for electric lighting; this was a little over a year after the first Edison incandescent service in Brooklyn was put into operation on September 2, 1889.
On Che interior (which is not part of this designation) the church has a barrel-vaulted nave with an arcade of five round arches supported by wooden columns painted in imitation marble. Above each arch is a clerestory window divided into three arched openings and a roundel, all filled with stained glass.
The deep apsidal chancel is lit by seven round-arched stained-glass windows that represent Christ and the six apostles. A most unusual feature of the design is the stained-glass window set in the vaulted ceiling of the chancel. This window represents a cross floating in a background of clouds and radiating beams of lights.
Its dramatic placement adds greatly to the majesty of the interior of the building. The finest windows at St. Luke's are the series of superb memorial windows in the side aisles, many of which are signed examples of designs by Tiffany Studios.
The finest of these windows is the pair of Tiifany designs in the north aisle given in memory of Henry Patchen Martin (1827-1906), the donor of the chapel and Sunday school building. These windows represent the archangels Gabriel and Michael.
The interior of the church was originally highly decorative, with an extensive use of polychromatic stenciling and other detail. The color quality of the wall surfaces was enhanced by the stained glass and by the beautiful floors; the floors of the aisles are all mosaic and the floor of the chancel is inlaid with brilliantly colored marble and encaustic tiles. The altar is of white Italian marble and is flanked by floating angels of carved Caen stone.
Much of the original interior decoration was destroyed by a fire that swept through the church on the evening of March 10, 1914. Although the front facade of the church was not severely damaged, the chapel and Sunday school building was completely destroyed on the inside. Part of the main sanctuary was also damaged, particularly in the chancel and south transept areas, and many of the memorial windows were cracked.
The congregation which "included in its membership some of the wealthiest men in the city," hired the architectural firm of Dodge & Morrison, specialists in church design, to repair the damage. In 1914 Dodge & Morrison presented plans for tie reconstruction of the chapel and Sunday school, and in 191.5 the church was repaired and the entire structure was reconsecrated on October 19, 1915. The church records note that three of the stained-glass windows were removed during the reconstruction and reset by Tiffany Studios.
Fortunately for the church, the congregation of 1914 could afford the necessary repairs to the damaged structure.
A few years later the population of the surrounding area began to change. The wealthy residents of Clinton and Washington Avenues and the surrounding streets began to move away and the old mansions and rowhouses were divided into apartments. In 1943 a decline in church attendance and a shift in the neighborhood population caused the parish of St, Luke's to merge with St. Matthew's Episcopal Church, which had been located on the corner or Tompkins Avenue and McDonough Street.
The united Church of St. Luke and St. Matthew has continued to serve a neighborhood that has seen a tremendous change in the last decades. The congregation o! the church is now largely drawn from the West Indian population
of the area. The influx of people from the British West Indies in the last twenty years has reinvigorated many Episcopal churches and has allowed St. Luke and St. Matthew's to maintain its magnificient church edifice, as well as continue its important mission to tha surrounding community.
- From the 1981 NYCLPC Landmark Designation Report
The Sleeping Giant seen from the back side on the Sibley Peninsula across Lake Mary Lousie.
A reversal some say is the Female Version.
The Sleeping Giant is a formation of mesas and sills on Sibley Peninsula which resembles a giant lying on its back when viewed from the west to north-northwest section of Thunder Bay, Ontario, Canada. As one moves southward along the shoreline toward Squaw Bay the Sleeping Giant starts to separate into its various sections. Most distinctly in the view from the cliffs at Squaw Bay the Giant appears to have an Adam's Apple. The formation is part of Sleeping Giant Provincial Park. Its dramatic steep cliffs are among the highest in Ontario (250 m). The southernmost point is known as Thunder Cape, depicted by many early Canadian artists such as William Armstrong.
One Ojibway legend identifies the giant as Nanabijou, who was turned to stone when the secret location of a rich silver mine now known as Silver Islet was disclosed to white men
Midtown, Manhattan, New York City, New York, United States
The Chanin Building, built in 1927-29, rises 56 stories at the comer of Lexington Avenue and 42nd Street. Designed by the architectural firm of Sloan & Robertson with sculptural decoration by Rene Chambellan, it is a major example of Art Deco architecture in New York City. Erected under the supervision of the Chanin Construction Company, the building still serves as the organization’s headquarters.
Irwin S. Chanin (b.1892) established his firm in 1919 to build one-family houses in Bensonhurst, Brooklyn, after studying engineering at Cooper union, working on subway construction in New York and Philadelphia, and participating in the construction of a poison gas factory for the U.S. Amy during World War I.
His first venture in Bensonhurst was so successful that he brought his brother Henry I. Chanin (1893-1973) into the firm, and they proceeded to build more houses and also apartment buildings in Brooklyn and then erected an office building in downtown Brooklyn. Extending their activities to Manhattan in 1924, they constructed the Fur Center Building. 'That same year the Chan ins expanded into the theater business, 'eventually building eight theaters, including the fabulous 6000-seat Roxy. The Chanins also managed a number of these theaters.
The 1400-roan Hotel Lincoln, on Eighth Avenue between 44th and 45th. Streets was completed and opened by the Chanins in 1S28. Following the completion of the Chanin Building in 1929, the firm expanded its activities into the Manhattan apartment field, building the Majestic and Century apartment houses on Central Park West. Extensive suburban building activity occupied much of the firm's tire during the 1930s and 1940s. A notable example was Green Acres, a residential park community in Valley Stream, Long Island, begun in 1936. During World War II the firm built 2000 pro-fabricated dwellings in Newport News,Virginia, five hangars at National Airport in Washington, the Naval Or dance Laboratory in White Oak, Maryland, and five Navy powder magazine buildings in Indian Head, Maryland.
Tte firm has also built numerous manufacturing buildings in the New York City area and the impressive Coney Island Pumping Station for the City of New York. By 1952 when Irwin S. Chanin was profiled in the National Cyclopaedia of American Biography, the Chanin Organization was composed of approximately 25 firms and corporations engaged in architecture, engineering, and construction, and in ownership and operation of real estate.
In August 1926 the Chanins acquired a 105-year leasehold on the site of the Manhattan Storage Warehouse on the west side of Lexington Avenue between 41st and 42nd Streets in order to build their new office tower. Plans were filed and work begun in 1927. When the steel structure work was completed on July 2, 1928, the Chanins followed their traditional practice of driving two gold rivets into a column on the uppermost floor. On January 23, 1929, exactly one year after Irwin S. Chanin drove the first rivet into the st.ee! frame, construction was completed—testimony to the skill of the workmen and the efficiency of the Chanin Construction Company. It was opened for business that January 29 and was hailed as "another step in the evolution of the skyscraper . At that time, it was the first major skyscraper to have been built in the area around Grand Central Terminal, anticipating a major shift in the business district of the city. Other notable skyscrapers such as the Chrysler and Daily News Buildings soon followed. Its 660-foot height was then exceeded only by the Woolworth Building and Metropolitan Life Tower in New York and the Cleveland Terminal Building in Cleveland. Irwin S. Chanin was not, however, interested in creating the world's tallest office building but rather in building an efficient, up-to-date, progressive structure that would attract the modern business man and be a credit to the Chanin firm.
To create this image, he commissioned the architectural firm of Sloan & Robertson.
Sloan & Robertson was one of the major New York architectural firms of the 1920s and '30s. John Sloan (1888-1954) studied architecture at New York University, then supervised construction for the U. S. Army In various capacities between 1900 and 1920. In private practice in 1920, he received the commission for the Pershing Square Building, 100 East U2nd Street. He formed a partnership in 1924 with T. Markoe Robertson (1878.-1962) who had been educated at Yale University and the Ecole des Beaux-Arts in Paris. In addition to the Chanin Building, the firm was responsible for the Graybar Building, 420 Lexington Avenue; the Maritime Exchange Building, 80 Broad Street; the 29 Broadway Office Building; the Plaza Building, 625 Madison Avenue; apartment buildings at 1 Beekman Place and 895 Park Avenue; and alterations, modernization, and an annex for the St. Regis Hotel.
The firm was also active 'in the design of buildings for hospitals and institutions, including the House of Detention for Women at 10 Greenwich Avenue, the Ward's Island Sewage Disposal Plant, the Rikers Island Penitentiary, buildings for the Harlem Hospital, and the Southampton Hospital, Architectural plans for the West Side Elevated Highway between Canal and 72nd Streets and the New York State exhibit building, marine amphitheatre and stage at the 1939 New York World's Fair were also carried out by the firm. In the Chanin Building as in so much of their work during the 1930s, they created a striking example of Art Deco architecture, using that most characteristic Art Deco building type, the skyscraper.
The Chanin Building rises 56 stories in a series of setbacks culminating in a tower, designed in accordance with the 1916 zoning ordinance. The site itself, which was bounded by streets on three sides, was governed by three sets of zoning rules. This made the tower rather than the street frontage the controlling factor in regard to massing. Critic Matlack Price praised the Chanin Building as "an impressive realization of the most hopeful predictions that were made years ago, when the zoning laws first imposed the set-back restrictions on tall structures. At once it becane necessary to design in
masses rather than in facades." The design of the tower was also influenced by the widely-publicized entry submitted by Eliel Saarinen in the competition for a new building for the Chicago Tribune (1922) .
The Saarinen design proved a fertile source for many Art Deco architects.
The first 17 stories completely cover tine plot except on the center of trie Lexington Avenue facade which is recessed above the fourth story. Major setbacks begin above the seventeenth story, forming a pyramidal base for the tower which rises uninterrupted from the thirtieth to the fifty-second story. The upper four stories of the tower are further recessed and accented with buttresses. The steel frame is clad with buff brick, terra cotta, and limestone, and is ornamented in such a way as to emphasize seme of the special functions within.
As was the customary in skyscraper design, the architects were interested in establishing a clearly-defined base for the composition and a strong interest at and relationship to the street. The first floor was intended for shops. Originally the plate glass shop windows were enclosed by bronze enframements set in Belgian black marble.
Later alterations have obscured sane of the original detail. Also at first floor level are major entrances on Lexington Avenue and 42nd Street. Above the first floor runs a bronze frieze telling the story of evolution. It shows different kinds of plant and animal life, beginning with low marine forms, then more complex forms, and finally birds and fish. At the second and third floors, which were intended for financial institutions, are triple window groups framed in bronze and divided between the floors by bronze spandrel panels with characteristic Art Deco ornament.
Each window group is flanked by limestone piers with ornamented terra-cotta capitals. Hie windows above the entrances are given a distinctive treatment with ornamental spandrel panels of a different design. Incorporated into the window framing are curved bronze supports holding canopies above the entrances. The canopies themselves have been altered. The fourth story is completely covered with an elaborate pattern of stylized plant forms executed in terra cotta. The use of such stylized forms is a characteristic associated with Art Deco design.
Trie ornament on these floors was designed by the noted architectural sculptor Rene Chambellan (1893-1955) in collaboration with Jacques Delamarre (b. 1907), head of the architectural staff of the Chanin Construction Company. Among the buildings for which Chambellan executed architectural sculpture were Radio City Music Hall and other buildings at Rockefeller Center, the East Side Airline Terminal, the Russell Sage Foundation Building, the Tribune Ttwer in Chicago, the Stirling Library at Yale, and the Pershing Stadium in Vincennes, France.
In the Chanin Building Delamarre was responsible for many of the details of the interior design and through the years supervised the many projects which the Chanin organization chose to design "in-house." Chambellan and Delamarre also collaborated on the design of the sculptural reliefs and bronze grilles adorning the vestibules inside the building entrances. They symbolically portray various aspects of the theme "the City of Opportunity," telling "the story of a city in which it is possible for a nan to rise from a humble station to wealth and influence by sheer power of his mind and hands." This, in fact, was a tribute to the success and achievement of Irwin S. Chanin.
Cc\ the Lexington Avenue side, a series of buttresses at the fifth and sixth stories accent the recessed portion of the facade. The form of these buttresses echoes the form of those at tine crown of the tower. Buttress forms extending from the thirtieth to the forty-ninth floor also accentuate the comers of the brick-faced tower.
The termination of the buttress forms at the forty-ninth floor indicates sore of the special functions in the floors above. The fiftieth and the fifty-first floors-now converted to office space— originally housed a theater which was to serve the theatrical division of the Chanin Organization. The Chanin offices continue to be housed in the crcKn of the tower which begins at tiie fifty-second floor. The most prominent features of the crown are the protruding buttresses which provide a distinctive termination for the tower.
Projecting ornament executed in abstract patterns at the fifty-second floor adds further interest to the Tower. Originally a battery of 212 flood-lights illuminated the crown of the tower at night adding to its dramatic effect of the skyline. This emphasis on dramatic illumination is another quality associated with Art Deco architecture, and it is characteristically displayed in one of Hugh Ferriss' noted renderings of the buildings.
When completed in 1929 the Chanin Building was praised by architectural, critic Matlack Price as being "a splendid contribution to twentieth century architecture.. that.. .powerfully rationalizes all the novel features of this new style,-and.. .a splendid contribution to the architecture of all time because it is a good design."
The quality of the design and the ornament continue to delight and are now recognized as exemplifying the characteristics of the Art Deco skyscraper. it remains a striking visual asset to the Grand Central area and continues to function successfully as an office building.
- From the 1978 NYCLPC Landmark Designation Report
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
Midtown Manhattan, Manhattan, New York City, New York, United States
The Chanin Building, built in 1927-29, rises 56 stories at the comer of Lexington Avenue and 42nd Street. Designed by the architectural firm of Sloan & Robertson with sculptural decoration by Rene Chambellan, it is a major example of Art Deco architecture in New York City. Erected under the supervision of the Chanin Construction Company, the building still serves as the organization’s headquarters.
Irwin S. Chanin (b.1892) established his firm in 1919 to build one-family houses in Bensonhurst, Brooklyn, after studying engineering at Cooper union, working on subway construction in New York and Philadelphia, and participating in the construction of a poison gas factory for the U.S. Amy during World War I.
His first venture in Bensonhurst was so successful that he brought his brother Henry I. Chanin (1893-1973) into the firm, and they proceeded to build more houses and also apartment buildings in Brooklyn and then erected an office building in downtown Brooklyn. Extending their activities to Manhattan in 1924, they constructed the Fur Center Building. 'That same year the Chan ins expanded into the theater business, 'eventually building eight theaters, including the fabulous 6000-seat Roxy. The Chanins also managed a number of these theaters.
The 1400-roan Hotel Lincoln, on Eighth Avenue between 44th and 45th. Streets was completed and opened by the Chanins in 1S28. Following the completion of the Chanin Building in 1929, the firm expanded its activities into the Manhattan apartment field, building the Majestic and Century apartment houses on Central Park West. Extensive suburban building activity occupied much of the firm's tire during the 1930s and 1940s. A notable example was Green Acres, a residential park community in Valley Stream, Long Island, begun in 1936. During World War II the firm built 2000 pro-fabricated dwellings in Newport News,Virginia, five hangars at National Airport in Washington, the Naval Or dance Laboratory in White Oak, Maryland, and five Navy powder magazine buildings in Indian Head, Maryland.
Tte firm has also built numerous manufacturing buildings in the New York City area and the impressive Coney Island Pumping Station for the City of New York. By 1952 when Irwin S. Chanin was profiled in the National Cyclopaedia of American Biography, the Chanin Organization was composed of approximately 25 firms and corporations engaged in architecture, engineering, and construction, and in ownership and operation of real estate.
In August 1926 the Chanins acquired a 105-year leasehold on the site of the Manhattan Storage Warehouse on the west side of Lexington Avenue between 41st and 42nd Streets in order to build their new office tower. Plans were filed and work begun in 1927. When the steel structure work was completed on July 2, 1928, the Chanins followed their traditional practice of driving two gold rivets into a column on the uppermost floor. On January 23, 1929, exactly one year after Irwin S. Chanin drove the first rivet into the st.ee! frame, construction was completed—testimony to the skill of the workmen and the efficiency of the Chanin Construction Company. It was opened for business that January 29 and was hailed as "another step in the evolution of the skyscraper . At that time, it was the first major skyscraper to have been built in the area around Grand Central Terminal, anticipating a major shift in the business district of the city. Other notable skyscrapers such as the Chrysler and Daily News Buildings soon followed. Its 660-foot height was then exceeded only by the Woolworth Building and Metropolitan Life Tower in New York and the Cleveland Terminal Building in Cleveland. Irwin S. Chanin was not, however, interested in creating the world's tallest office building but rather in building an efficient, up-to-date, progressive structure that would attract the modern business man and be a credit to the Chanin firm.
To create this image, he commissioned the architectural firm of Sloan & Robertson.
Sloan & Robertson was one of the major New York architectural firms of the 1920s and '30s. John Sloan (1888-1954) studied architecture at New York University, then supervised construction for the U. S. Army In various capacities between 1900 and 1920. In private practice in 1920, he received the commission for the Pershing Square Building, 100 East U2nd Street. He formed a partnership in 1924 with T. Markoe Robertson (1878.-1962) who had been educated at Yale University and the Ecole des Beaux-Arts in Paris. In addition to the Chanin Building, the firm was responsible for the Graybar Building, 420 Lexington Avenue; the Maritime Exchange Building, 80 Broad Street; the 29 Broadway Office Building; the Plaza Building, 625 Madison Avenue; apartment buildings at 1 Beekman Place and 895 Park Avenue; and alterations, modernization, and an annex for the St. Regis Hotel.
The firm was also active 'in the design of buildings for hospitals and institutions, including the House of Detention for Women at 10 Greenwich Avenue, the Ward's Island Sewage Disposal Plant, the Rikers Island Penitentiary, buildings for the Harlem Hospital, and the Southampton Hospital, Architectural plans for the West Side Elevated Highway between Canal and 72nd Streets and the New York State exhibit building, marine amphitheatre and stage at the 1939 New York World's Fair were also carried out by the firm. In the Chanin Building as in so much of their work during the 1930s, they created a striking example of Art Deco architecture, using that most characteristic Art Deco building type, the skyscraper.
The Chanin Building rises 56 stories in a series of setbacks culminating in a tower, designed in accordance with the 1916 zoning ordinance. The site itself, which was bounded by streets on three sides, was governed by three sets of zoning rules. This made the tower rather than the street frontage the controlling factor in regard to massing. Critic Matlack Price praised the Chanin Building as "an impressive realization of the most hopeful predictions that were made years ago, when the zoning laws first imposed the set-back restrictions on tall structures. At once it becane necessary to design in
masses rather than in facades." The design of the tower was also influenced by the widely-publicized entry submitted by Eliel Saarinen in the competition for a new building for the Chicago Tribune (1922) .
The Saarinen design proved a fertile source for many Art Deco architects.
The first 17 stories completely cover tine plot except on the center of trie Lexington Avenue facade which is recessed above the fourth story. Major setbacks begin above the seventeenth story, forming a pyramidal base for the tower which rises uninterrupted from the thirtieth to the fifty-second story. The upper four stories of the tower are further recessed and accented with buttresses. The steel frame is clad with buff brick, terra cotta, and limestone, and is ornamented in such a way as to emphasize seme of the special functions within.
As was the customary in skyscraper design, the architects were interested in establishing a clearly-defined base for the composition and a strong interest at and relationship to the street. The first floor was intended for shops. Originally the plate glass shop windows were enclosed by bronze enframements set in Belgian black marble.
Later alterations have obscured sane of the original detail. Also at first floor level are major entrances on Lexington Avenue and 42nd Street. Above the first floor runs a bronze frieze telling the story of evolution. It shows different kinds of plant and animal life, beginning with low marine forms, then more complex forms, and finally birds and fish. At the second and third floors, which were intended for financial institutions, are triple window groups framed in bronze and divided between the floors by bronze spandrel panels with characteristic Art Deco ornament.
Each window group is flanked by limestone piers with ornamented terra-cotta capitals. Hie windows above the entrances are given a distinctive treatment with ornamental spandrel panels of a different design. Incorporated into the window framing are curved bronze supports holding canopies above the entrances. The canopies themselves have been altered. The fourth story is completely covered with an elaborate pattern of stylized plant forms executed in terra cotta. The use of such stylized forms is a characteristic associated with Art Deco design.
Trie ornament on these floors was designed by the noted architectural sculptor Rene Chambellan (1893-1955) in collaboration with Jacques Delamarre (b. 1907), head of the architectural staff of the Chanin Construction Company. Among the buildings for which Chambellan executed architectural sculpture were Radio City Music Hall and other buildings at Rockefeller Center, the East Side Airline Terminal, the Russell Sage Foundation Building, the Tribune Ttwer in Chicago, the Stirling Library at Yale, and the Pershing Stadium in Vincennes, France.
In the Chanin Building Delamarre was responsible for many of the details of the interior design and through the years supervised the many projects which the Chanin organization chose to design "in-house." Chambellan and Delamarre also collaborated on the design of the sculptural reliefs and bronze grilles adorning the vestibules inside the building entrances. They symbolically portray various aspects of the theme "the City of Opportunity," telling "the story of a city in which it is possible for a nan to rise from a humble station to wealth and influence by sheer power of his mind and hands." This, in fact, was a tribute to the success and achievement of Irwin S. Chanin.
Cc\ the Lexington Avenue side, a series of buttresses at the fifth and sixth stories accent the recessed portion of the facade. The form of these buttresses echoes the form of those at tine crown of the tower. Buttress forms extending from the thirtieth to the forty-ninth floor also accentuate the comers of the brick-faced tower.
The termination of the buttress forms at the forty-ninth floor indicates sore of the special functions in the floors above. The fiftieth and the fifty-first floors-now converted to office space— originally housed a theater which was to serve the theatrical division of the Chanin Organization. The Chanin offices continue to be housed in the crcKn of the tower which begins at tiie fifty-second floor. The most prominent features of the crown are the protruding buttresses which provide a distinctive termination for the tower.
Projecting ornament executed in abstract patterns at the fifty-second floor adds further interest to the Tower. Originally a battery of 212 flood-lights illuminated the crown of the tower at night adding to its dramatic effect of the skyline. This emphasis on dramatic illumination is another quality associated with Art Deco architecture, and it is characteristically displayed in one of Hugh Ferriss' noted renderings of the buildings.
When completed in 1929 the Chanin Building was praised by architectural, critic Matlack Price as being "a splendid contribution to twentieth century architecture.. .that.. .powerfully rationalizes all the novel features of this new style,-and.. .a splendid contribution to the architecture of all time because it is a good design."
The quality of the design and the ornament continue to delight and are now recognized as exemplifying the characteristics of the Art Deco skyscraper. it remains a striking visual asset to the Grand Central area and continues to function successfully as an office building.
- From the 1978 NYCLPC Landmark Designation Report
The Colorado River is the principal river of the Southwestern United States and northwest Mexico. The 1,450-mile (2,330 km) river drains an expansive, arid watershed that encompasses parts of seven U.S. and two Mexican states. Rising in the central Rocky Mountains in the U.S., the river flows generally southwest across the Colorado Plateau and through the Grand Canyon before reaching Lake Mead on the Arizona–Nevada line, where it turns south toward the international border. After entering Mexico, the Colorado approaches the large Colorado River Delta where it naturally emptied into the Gulf of California between Baja California and Sonora, though it no longer reaches its delta or the sea.
Known for its dramatic canyons and whitewater rapids, the Colorado is a vital source of water for agricultural and urban areas in the southwestern desert lands of North America. The river and its tributaries are controlled by an extensive system of dams, reservoirs, and aqueducts, which divert 90% of its water in the U.S. alone to furnish irrigation and municipal water supply for almost 40 million people both inside and outside the watershed. The Colorado's large flow and steep gradient are used for generating hydroelectric power, and its major dams regulate peaking power demands in much of the Intermountain West. Since the mid-20th century, intensive water consumption has dried the lower 100 miles (160 km) of the river such that it has not consistently reached the sea since the 1960s.
Europeans first entered the Colorado Basin in the 16th century, when explorers from Spain began mapping and claiming the area, which later became part of Mexico upon its independence in 1821. Early contact between foreigners and natives was generally limited to the fur trade in the headwaters and sporadic trade interactions along the lower river. After the greater Colorado River basin became part of the U.S. in 1846, the bulk of the river's course was still largely the subject of myths and speculation. Several expeditions charted the Colorado in the mid-19th century, one of which, led by John Wesley Powell in 1869, was the first to run the rapids of the Grand Canyon. American explorers collected valuable information that would later be used to develop the river for navigation and water supply. Large-scale settlement of the lower basin began in the mid- to late-19th century, with steamboats providing transportation from the Gulf of California to landings along the Colorado River that linked to wagon roads into the interior of New Mexico Territory. Lesser numbers settled in the upper basin, which was the scene of major gold strikes in Arizona and Nevada in the 1860s and 1870s.
Major engineering of the river basin began around the start of the 20th century, with many guidelines established in a series of domestic and international treaties known as the "Law of the River". The U.S. federal government was the main driving force behind the construction of hydraulic engineering projects in the river system, although many state and local water agencies were also involved. Most of the major dams in the river basin were built between 1910 and 1970, and the system keystone, Hoover Dam, was completed in 1935. The Colorado is now considered among the most controlled and litigated rivers in the world, with every drop of its water fully allocated. The damming and diversion of the Colorado River system have been flashpoint issues for the environmental movement in the American Southwest because of their impacts on the ecology and natural beauty of the river and its tributaries. During the construction of Glen Canyon Dam, environmental organizations vowed to block any further development of the river, and a number of later dam and aqueduct proposals were defeated by citizen opposition. As demands for Colorado River water continue to rise, the level of human development and control of the river continues to generate controversy.
en.wikipedia.org/wiki/Colorado_River
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Midtown Manhattan
The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image.
HISTORY OF CONSTRUCTION
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."
In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave.
In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors.
By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower.
The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet.
Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932.
The Chrysler Building and Art Deco
Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country.
The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925.
In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building.
In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result.
Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme.
The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp.
Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.
One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow.
Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.
On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design.
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Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh.
Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street.
For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces.
The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces.
The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below.
The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types.
All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.
The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters.
At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.
All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings.
The Chrysler Building and the Image of Progress
When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:
The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions.
The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home.
As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future.
The Chrysler Building is therefore dedicated as a sound contribution to business progress.
The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense.
In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer.
The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country.
- From the 1978 NYCLPC Landmark Designation Report
The MS Düsseldorf is a modern and comfortable tour boat operated by the Weisse Flotte Düsseldorf/Duisburg GmbH, not the KD (Köln-Düsseldorfer). This vessel is well-suited for a variety of events and tours on the Rhine River, from public sightseeing cruises to private corporate and celebratory functions. It has the capacity to carry up to 250 people, offering guests a relaxed atmosphere and a range of amenities to enhance their experience on the water.
The ship is designed with a spacious interior and multiple decks to provide ample space for passengers. The main deck below features a bar and a large dance floor, while a smaller upper deck and two open-air sun decks allow for a variety of experiences. The open decks can be fitted with flexible sun sails to provide shade. The MS Düsseldorf is also equipped with modern technology, including LED lighting that creates a special ambiance in the evening, and two large plasma screens for presentations or other visual displays.
The MS Düsseldorf is used for a variety of public tours, including panoramic cruises that showcase the sights of the city, such as the Old Town and the Media Harbour. It also operates on a regular line service, taking passengers on scenic trips between Düsseldorf and the charming historical town of Kaiserswerth. On board, guests can enjoy a full-service experience with a ship's galley and various bars, making it a popular choice for both tourists and locals looking to explore the Rhine from a new perspective.
The Düsseldorf Media Harbor, or Medienhafen, is a striking example of urban regeneration that has transformed a derelict industrial port into one of the city's most fashionable and dynamic districts. Once a bustling commercial harbor filled with warehouses and disused buildings, the area began its dramatic makeover in the 1990s. City planners embarked on a strategic project to rejuvenate the waterfront, focusing on a plot-by-plot approach that blended new, avant-garde architecture with the preservation of historic industrial elements. The result is a vibrant hub that seamlessly combines the old and the new, attracting both locals and tourists with its unique atmosphere and creative energy.
The architectural landscape of the Medienhafen is its most prominent feature, showcasing the works of some of the world's most renowned architects. The most iconic structures are undoubtedly the "Gehry Buildings," officially known as the Neuer Zollhof. Designed by the visionary Frank O. Gehry, these three asymmetrical, sculptural high-rises—clad in stainless steel, red brick, and white plaster—have become a symbol of modern Düsseldorf. Other notable buildings include the Colorium, with its eye-catching kaleidoscopic glass facade by William Alsop, and the sleek Stadttor by Helmut Jahn. These architectural masterpieces stand alongside renovated historic warehouses, creating a visually captivating and diverse urban environment that has made the area a must-see for architecture enthusiasts.
Beyond its architectural appeal, the Media Harbor is a thriving economic center. As its name suggests, it is home to over 800 companies, primarily from the media, advertising, and creative sectors. The area's revitalization was driven by a vision to create a hub for these industries, and the project has been a resounding success. The modern office buildings and refurbished industrial spaces provide a unique and inspiring setting for creative work. This concentration of innovative firms has not only revitalized the district but has also solidified Düsseldorf's reputation as a major player in Germany's creative economy.
The cultural and leisure offerings in the Medienhafen are as diverse as its architecture. The waterfront is lined with a variety of trendy cafes, upscale restaurants, and vibrant bars, catering to the district's sophisticated crowd. Visitors can enjoy a wide range of culinary experiences, from Mediterranean cuisine and gourmet burgers to fine dining with stunning views of the Rhine River. The area is also a popular spot for leisure activities, whether it's a stroll along the promenade, a sightseeing cruise on the river, or simply enjoying the lively atmosphere. The fusion of business and pleasure makes the Medienhafen a destination where people can work, dine, and relax in style.
In essence, the Düsseldorf Media Harbor is a testament to the power of thoughtful urban redevelopment. It has successfully transformed an aging industrial zone into a modern, stylish, and economically significant district. By preserving its historical character while embracing cutting-edge architecture and new industries, the Medienhafen has created a unique identity. It stands as a symbol of Düsseldorf's reinvention and a vibrant, forward-looking neighborhood that attracts a mix of creatives, business professionals, and tourists alike, all drawn to its dynamic blend of art, commerce, and culture.
East 42nd Street, Midtown Manhattan
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
REFORD GARDENS | LES JARDINS DE MÉTIS
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
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Visit : www.refordgardens.com/
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LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Architect: Klas Anshelm
Built in: 1957
Client: The City of Lund
Prehistory
Lund Konsthall is the result of a donation from the Old Savings’ Bank (today’s Finn Savings’ Bank) to the City of Lund. In 1953 the City Council decided to accept the gift and invited six architects for a competition to design the new art gallery. In 1954 the jury unanimously decided that Klas Anshelm’s proposal should be realized.
Architecture
Klas Anshelm (1914–1980) was a well-known and busy architect in Lund. With its monolithic brick façade Lunds Konsthall became one of Sweden’s finest exhibition venues. Its dramatic and yet restrained form is well adapted to contemporary art, and also blends in with the medieval architecture of Lund.
Renovations
Lunds Konsthall has not fully retained its original architectural expression, but it has escaped thorough reconstruction. In 1997 the building was renovated with support from the Finn Savings’ Bank and in 2004 it underwent a lighter renovation, aiming at restoring as much as possible of the original architecture.
History
‘I have tried to achieve an environment, tried to achieve a spatial frame for objects, and also to facilitate the changing of light bulbs.’
Klas Anshelm, Architect
Source: Lunds Konsthall - History.
The images from Lunds Konsthall was taken during the exhibition - The Opposite of Me Is I by the artist Miriam Bäckström.
More pictures from Lunds Konsthall here.
The Colorado River is the principal river of the Southwestern United States and northwest Mexico. The 1,450-mile (2,330 km) river drains an expansive, arid watershed that encompasses parts of seven U.S. and two Mexican states. Rising in the central Rocky Mountains in the U.S., the river flows generally southwest across the Colorado Plateau and through the Grand Canyon before reaching Lake Mead on the Arizona–Nevada line, where it turns south toward the international border. After entering Mexico, the Colorado approaches the large Colorado River Delta where it naturally emptied into the Gulf of California between Baja California and Sonora, though it no longer reaches its delta or the sea.
Known for its dramatic canyons and whitewater rapids, the Colorado is a vital source of water for agricultural and urban areas in the southwestern desert lands of North America. The river and its tributaries are controlled by an extensive system of dams, reservoirs, and aqueducts, which divert 90% of its water in the U.S. alone to furnish irrigation and municipal water supply for almost 40 million people both inside and outside the watershed. The Colorado's large flow and steep gradient are used for generating hydroelectric power, and its major dams regulate peaking power demands in much of the Intermountain West. Since the mid-20th century, intensive water consumption has dried the lower 100 miles (160 km) of the river such that it has not consistently reached the sea since the 1960s.
Europeans first entered the Colorado Basin in the 16th century, when explorers from Spain began mapping and claiming the area, which later became part of Mexico upon its independence in 1821. Early contact between foreigners and natives was generally limited to the fur trade in the headwaters and sporadic trade interactions along the lower river. After the greater Colorado River basin became part of the U.S. in 1846, the bulk of the river's course was still largely the subject of myths and speculation. Several expeditions charted the Colorado in the mid-19th century, one of which, led by John Wesley Powell in 1869, was the first to run the rapids of the Grand Canyon. American explorers collected valuable information that would later be used to develop the river for navigation and water supply. Large-scale settlement of the lower basin began in the mid- to late-19th century, with steamboats providing transportation from the Gulf of California to landings along the Colorado River that linked to wagon roads into the interior of New Mexico Territory. Lesser numbers settled in the upper basin, which was the scene of major gold strikes in Arizona and Nevada in the 1860s and 1870s.
Major engineering of the river basin began around the start of the 20th century, with many guidelines established in a series of domestic and international treaties known as the "Law of the River". The U.S. federal government was the main driving force behind the construction of hydraulic engineering projects in the river system, although many state and local water agencies were also involved. Most of the major dams in the river basin were built between 1910 and 1970, and the system keystone, Hoover Dam, was completed in 1935. The Colorado is now considered among the most controlled and litigated rivers in the world, with every drop of its water fully allocated. The damming and diversion of the Colorado River system have been flashpoint issues for the environmental movement in the American Southwest because of their impacts on the ecology and natural beauty of the river and its tributaries. During the construction of Glen Canyon Dam, environmental organizations vowed to block any further development of the river, and a number of later dam and aqueduct proposals were defeated by citizen opposition. As demands for Colorado River water continue to rise, the level of human development and control of the river continues to generate controversy.
en.wikipedia.org/wiki/Colorado_River
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Wrapping up my Southern Arizona Adventure 2024 with a visit to Amerind Foundation and Texas Canyon. This is stage 9 of 9.
This is a view looking northwest. Interstate 10 runs along the bottom of the mountain. The rock formations at the left edge are where most prior photos of Texas Canyon were shot. There is a Rest Stop on I-10 so it was fairly easy to get access for photos.
www.amerind.org/texascanyonnaturepreserve/
Chat GPT
Texas Canyon is a striking natural area located in Cochise County, southeastern Arizona, along Interstate 10 between Benson and Willcox. It is renowned for its dramatic landscape, characterized by massive granite boulders scattered across the desert terrain, creating a rugged and picturesque environment.
The granite boulders in Texas Canyon were formed through millions of years of erosion and weathering. These formations, often precariously balanced, provide a unique and photogenic sight, making the canyon a popular stop for travelers and photographers.
The area is surrounded by the Chiricahua Mountains to the south and other nearby ranges, offering expansive views of the Sonoran Desert with its mix of desert vegetation, including cacti and mesquite trees. The light, especially at sunrise and sunset, enhances the golden hues of the rocks, adding to the area's charm.
Texas Canyon has a rich history tied to the Chiricahua Apache people, who once roamed these lands. Later, it became home to early settlers.
en.wikipedia.org/wiki/Texas_Canyon
Texas Canyon is a valley in Cochise County, Arizona,[1] about 20 miles east of Benson on Interstate 10. Lying between the Little Dragoon Mountains to the north and the Dragoon Mountains to the south and known for its giant granite boulders, the canyon attracts rockhounds and photographers.
www.arizonahighways.com/article/texas-canyon-nature-preserve
The giant granite boulders along Interstate 10 in Southeastern Arizona have been gracing postcards for decades, but that otherworldly landscape was always off-limits to the general public. Not anymore. Thanks to the Amerind Foundation, 6 miles of trails in the brand-new Texas Canyon Nature Preserve are now available to those who want a closer look.
By Suzanne Wright
Zipping past Texas Canyon, an hour southeast of Tucson, it’s impossible not to notice the boulders — giant, eye-catching piles of granite, like something out of The Flintstones. But other than providing scenery along Interstate 10 — particularly at a rest area just down the highway from the kitschy attraction known as The Thing — the area has long been off-limits to curious travelers who wanted to stretch their legs and get a closer look.
There are several private landowners in Texas Canyon, including Triangle T Guest Ranch, which has some trails for its guests. But none had opened its trails to the public until this past October, when the portion of the area owned and managed by the Amerind Foundation had its ribbon-cutting. After a multi-year campaign that raised $250,000, the Texas Canyon Nature Preserve — on land previously closed to the public for 85 years, and where the organization’s founding family raised quarter horses until 1968 — is open to all.
“The idea had been percolating with the Amerind Foundation board and management for years,” says Eric Kaldahl, the president, CEO and chief curator of the foundation. “The response from the surrounding community has been very enthusiastic. We welcomed more visitors last October than we’ve seen for the past 10 years.”
The preserve, located just off I-10 between Benson and Willcox, is part of a 1,900-acre campus that includes the Amerind Museum. More than 6 miles of trails wind past balanced rocks, fantastical shapes and rocky spires in open, sun-warmed high-desert grasslands studded with cactuses, wildflowers and trees. The trail is self-guided, although Kaldahl hopes to offer guided sunrise and sunset hikes in the next year. Visitors can pay a $12 admission fee for just the trails or $20 to visit both the trails and the museum.
Trail designer Sirena Rana knows the landscape can look intimidating, but she purposely designed the trails to be “perfect little morsels.” Rana didn’t grow up hiking, so she aimed to make the trails a comfortable experience for all ages and abilities. There are no steep elevation gains, and dirt, rather than gravel, makes for more stability. And Rana recalls walking for miles and miles over several months to understand the land and ensure the trails were constructed to shed water, limit erosion and provide firebreaks.
“Texas Canyon is one of the most unique landscapes in the Southwest, formed by millions of years of wind and rain weathering the granite,” she says, likening it to Joshua Tree National Park and the Wilderness of Rock on Mount Lemmon. “It’s very unusual that it’s right off a major interstate and just an hour from a major metropolitan area,” she adds. “This is one of the greatest outdoor sculpture gardens in the world designed by Mother Nature. I’m so pleased with how it turned out.”
Elsewhere along the trail, signage reflects the Amerind Museum’s mission of fostering knowledge and understanding of Indigenous peoples. Acknowledging that these are ancestral lands, the signs feature O’odham, English and Spanish text, in that order — and Kaldahl hopes to add Apache, too.
Additionally, Indigenous people have collected basket-weaving materials from these lands for generations, and they remain free to access the grounds.
Haiku Thoughts:
Stone giants whisper,
Texas Canyon's quiet grace,
Time's hand carves the sky.
Southern Arizona Adventure 2024
The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble Djúpalónssandur Beach. In Stykkishólmur fishing village, the 19th-century wood-frame Norwegian House is a regional museum with a craft shop.
To create the iconic curving forms of the cruise-ship terminal in Porto, Portugal, architect Luís Pedro Silva began working from the project’s territorial context rather than simply seeking a display of formal prowess. The powerful oval drum of its main volume, with its spiraling central atrium and exterior ramps, is charged with both centripetal and centrifugal force, gathering all the vectors of movement that come together in the terminal from sea and land, and spinning them back out again to their various destinations. Before receiving the commission, Silva, who has degrees in architecture and urban planning from Porto University, worked on a strategic plan for the entire port as a member of a team of economists, engineers, and other specialists. The building and its new dock bring together the group’s ideas for increasing the port’s efficiency, promoting a growing tourist industry, and improving connections to the area’s attractions.
Leixões, the port, occupies a small inlet on the Atlantic Ocean 6 miles north of the historic city center of Porto. It is protected by two breakwaters that reach more than 2,500 feet into the sea, each with a dock on its harbor side. The tightly confined waterway houses facilities for container ships, oil tankers, a fishing fleet, and a recreational marina. It’s a node of heavy industry that interrupts the rocky beaches of the coast, separating seaside promenades designed by Portugal’s two Pritzker Prize winners: Eduardo Souto de Moura to the south, in Matosinhos, and Álvaro Siza to the north, in Leça da Palmera, where his outdoor swimming pools and Tea House are nestled into the rocks.
In the first phase of the plan, finished in 2011, Silva and his team moved the cruise-ship dock from the inner harbor to a new pier at the end of the southern breakwater, for more direct access to the city and to accommodate ships up to 1,000 feet long. The terminal was completed in a second phase last year. In the near future, the pier and terminal will open to the general public, allowing the building, with its rooftop viewing deck, to truly function as a destination rather than just a curiosity when seen from Souto de Moura’s seaside promenade, where its dramatic forms stand out against the horizon.
Silva set the terminal in the elbow of the angled breakwater, and in plan it resembles a hinge or spring, with ramps and arms curving out in different directions toward the marina, the new pier, and the shore. Inside, these pedestrian paths come together in a spiraling oval ramp around the central atrium. The uncoiling arms diagram the different systems of movement through the building. From a cruise ship, for example, a breezeway carries passengers over the service areas of the dock to the terminal. Ramps and escalators bring them down to the ground level, where they pass through customs and baggage handling (or vice-versa), to connect to tour buses or smaller boats for trips to the city and the Douro wine region, or eventually to a tram line that is planned to run along the coast.
In the original program, the upper section of the terminal was meant to house a shopping concourse and a restaurant, but Portugal’s ongoing financial slump made investors hard to find. While Silva was developing the design, these floors were taken on by the University of Porto’s Marine Science and Technology Research Park. The architect rather awkwardly converted the commercial spaces into laboratories, with floor-to-ceiling glazed storefronts facing the atrium but with no exterior windows, and with offices on mezzanines accessed via spiral stairs. He installed a research aquarium in the basement, and converted the top-floor restaurant into a multi-use event credits space. Yet this unlikely partnership with the university does bring life to the building, as well as steady revenue, and allows the center’s scientists to be close to the sea.
Silva worked with local manufacturers to develop a hexagonal ceramic tile with a tilted face to clad the building, updating the Portuguese tradition of painted-tile facades. He rotated the tiles, placing them in varying relations to each other, like barnacles or shells, to create an uneven surface. “They give the building a human scale,” he says.
Glistening in the light, the curving walls of the building read like ribbons looping around themselves in an irregular tangle. Echoes of two Guggenheims are evident—Wright’s in New York and Gehry’s in Bilbao. Silva affirms, however, that Siza is his most important reference: “The way our bodies move in a space, and the way a space invites you forward.” Like Souto de Moura, whose early buildings were very Miesian, Silva may be using Wright and Gehry to mitigate the influence of Siza’s eccentric, rectilinear forms. Whatever the case, he develops the terminal’s looping ramps and drum with an elegant economy of means, and makes this formal repertoire his own.
Pinnipeds, commonly known as seals, are a widely distributed and diverse clade of carnivorous, fin-footed, semiaquatic marine mammals. They comprise the extant families Odobenidae, Otariidae, and Phocidae. There are 33 extant species of pinnipeds, and more than 50 extinct species have been described from fossils.
The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble beach
Wrapping up my Southern Arizona Adventure 2024 with a visit to Amerind Foundation and Texas Canyon. This is stage 9 of 9.
This is a view from the trail looking basically southeast across the valley.
www.amerind.org/texascanyonnaturepreserve/
Chat GPT
Texas Canyon is a striking natural area located in Cochise County, southeastern Arizona, along Interstate 10 between Benson and Willcox. It is renowned for its dramatic landscape, characterized by massive granite boulders scattered across the desert terrain, creating a rugged and picturesque environment.
The granite boulders in Texas Canyon were formed through millions of years of erosion and weathering. These formations, often precariously balanced, provide a unique and photogenic sight, making the canyon a popular stop for travelers and photographers.
The area is surrounded by the Chiricahua Mountains to the south and other nearby ranges, offering expansive views of the Sonoran Desert with its mix of desert vegetation, including cacti and mesquite trees. The light, especially at sunrise and sunset, enhances the golden hues of the rocks, adding to the area's charm.
Texas Canyon has a rich history tied to the Chiricahua Apache people, who once roamed these lands. Later, it became home to early settlers.
en.wikipedia.org/wiki/Texas_Canyon
Texas Canyon is a valley in Cochise County, Arizona,[1] about 20 miles east of Benson on Interstate 10. Lying between the Little Dragoon Mountains to the north and the Dragoon Mountains to the south and known for its giant granite boulders, the canyon attracts rockhounds and photographers.
www.arizonahighways.com/article/texas-canyon-nature-preserve
The giant granite boulders along Interstate 10 in Southeastern Arizona have been gracing postcards for decades, but that otherworldly landscape was always off-limits to the general public. Not anymore. Thanks to the Amerind Foundation, 6 miles of trails in the brand-new Texas Canyon Nature Preserve are now available to those who want a closer look.
By Suzanne Wright
Zipping past Texas Canyon, an hour southeast of Tucson, it’s impossible not to notice the boulders — giant, eye-catching piles of granite, like something out of The Flintstones. But other than providing scenery along Interstate 10 — particularly at a rest area just down the highway from the kitschy attraction known as The Thing — the area has long been off-limits to curious travelers who wanted to stretch their legs and get a closer look.
There are several private landowners in Texas Canyon, including Triangle T Guest Ranch, which has some trails for its guests. But none had opened its trails to the public until this past October, when the portion of the area owned and managed by the Amerind Foundation had its ribbon-cutting. After a multi-year campaign that raised $250,000, the Texas Canyon Nature Preserve — on land previously closed to the public for 85 years, and where the organization’s founding family raised quarter horses until 1968 — is open to all.
“The idea had been percolating with the Amerind Foundation board and management for years,” says Eric Kaldahl, the president, CEO and chief curator of the foundation. “The response from the surrounding community has been very enthusiastic. We welcomed more visitors last October than we’ve seen for the past 10 years.”
The preserve, located just off I-10 between Benson and Willcox, is part of a 1,900-acre campus that includes the Amerind Museum. More than 6 miles of trails wind past balanced rocks, fantastical shapes and rocky spires in open, sun-warmed high-desert grasslands studded with cactuses, wildflowers and trees. The trail is self-guided, although Kaldahl hopes to offer guided sunrise and sunset hikes in the next year. Visitors can pay a $12 admission fee for just the trails or $20 to visit both the trails and the museum.
Trail designer Sirena Rana knows the landscape can look intimidating, but she purposely designed the trails to be “perfect little morsels.” Rana didn’t grow up hiking, so she aimed to make the trails a comfortable experience for all ages and abilities. There are no steep elevation gains, and dirt, rather than gravel, makes for more stability. And Rana recalls walking for miles and miles over several months to understand the land and ensure the trails were constructed to shed water, limit erosion and provide firebreaks.
“Texas Canyon is one of the most unique landscapes in the Southwest, formed by millions of years of wind and rain weathering the granite,” she says, likening it to Joshua Tree National Park and the Wilderness of Rock on Mount Lemmon. “It’s very unusual that it’s right off a major interstate and just an hour from a major metropolitan area,” she adds. “This is one of the greatest outdoor sculpture gardens in the world designed by Mother Nature. I’m so pleased with how it turned out.”
Elsewhere along the trail, signage reflects the Amerind Museum’s mission of fostering knowledge and understanding of Indigenous peoples. Acknowledging that these are ancestral lands, the signs feature O’odham, English and Spanish text, in that order — and Kaldahl hopes to add Apache, too.
Additionally, Indigenous people have collected basket-weaving materials from these lands for generations, and they remain free to access the grounds.
Haiku Thoughts:
Stone giants whisper,
Texas Canyon's quiet grace,
Time's hand carves the sky.
Southern Arizona Adventure 2024
Midtown Manhattan
The ground floor interior of the Chrysler Building which the Commission designates an Interior Landmark, has been called one of the great Art Deco spaces in New York City. Built in 1928-30 according to the designs of architect William Van Alen, it provides an elegant and dramatic entrance to one of New York's great skyscrapers which had been dedicated by Walter P. Chrysler to "world commerce and industry." A variety of design features create this effect and enhance its progressive image.
HISTORY OF CONSTRUCTION
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union for the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an . office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design, the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."
In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical and manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave.
In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic breaks and a high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation. Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motors.
By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry in volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. 6 He could not have been unav^ure, however, that the building would become a personal symbol and further the image of the Chrysler Corporation— even though no corporate funds were used in its financing or construction, lb that end Chrysler worked with architect William Van Alen to make the building, including the ground floor interior, a powerful and striking design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquired the lease with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year. The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower.
The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, H. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet.
Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secretly at the 65th floor. In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted into place, the whole operation taking about 90 minutes. This engineering feat captured the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930, in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recognition of Mr. Chrysler's contribution to civic advancement." H It may still be seen in the 42nd Street entrance lobby. The building was considered finished in August, 1930, but curiously, the completion date in the records of the Manhattan Buildings Department is February 19, 1932.
The Chrysler Building and Art Deco
Walter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture. The ground floor interior is one of the great Art Deco spaces in the country.
The term Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition Internationale des Arts Deooratifs et Industriels Modemes— an important European influence on the American Art Deco style— held in Paris in 1925.
In the period fallowing the first World War, architects in Europe and the United States had begun to simplify traditional design forms and to use new industrial materials in innovative ways in order to characterize the modem age. The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modem age. Although the Art Deco style was short-lived, it coincided with a great building boon at the end of the 1920s in New York. The many skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. The Art Deco ground floor interiors of these skyscrapers were equally effective, giving an air of drama to the act of entering a building.
In the Chrysler Building and its ground floor interior, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
Three entrances provide access to the ground floor interior of the building—one each from 42nd and 43rd Streets and Lexington Avenue. The three entrance lobbies lead into the triangular main concourse with two massive octagonal piers. The shape of the concourse and the placement of the piers help to channel traffic efficiently to the four elevator halls. In his autobiography, Walter P. Chrysler claimed that he asked the architect to redesign the lobby so that "when people come into a big building they...sense a change, get a mental lift that will put them in a frame of mind to transact their business.'^* The triangular concourse was the result.
Rich materials, a characteristic feature of the Art Deco style, enhance the spatial effects and enrich the experience of entry. The walls of the entrance lobbies and main concourse as well as the octagonal piers are faced with a type of red Moroccan marble known as Rouge Flarrme.
The marble is distinguished by variegated markings in tones of buff. Complementing the marble on the walls is the yellow Sienna travertine floor set in diagonal patterns—another subtle directional device to guide the user of the building. Shop windows opening onto the entrance lobbies and main concourse as well as directory boards are elegantly framed in "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp.
Handsome crenellations of "Nirosta" steel—in characteristic Art Deco forms—surmount these enframements. The entrance doors, as well as the service doors, are also of "Nirosta" steel. Set between the service doors opposite the Lexington Avenue entrance is an information booth of red marble with "Nirosta" steel back rising from it.
One of the most striking and dramatic features of this interior is the lighting system. Vertically-placed panels of polished Mexican onyx are placed in a stepped pattern above the elevator halls and the three street entrances. Vertical reflector troughs of "Nirosta" steel set with lamps are placed in front of the onyx panels. As the light is reflected off these panels it is given an amber glow.
Set in front of the lights marking the entrances are vertically-placed letters forming the names of the streets outside. The octagonal piers in the main concourse also provide a light source. V-shaped recesses lined with onyx contain the same type of vertical reflector troughs and lamps as those over the entrances and elevator halls.
On the ceiling scanning the main concourse and the Lexington Avenue entrance lobby is a large mural by artist Edward Trumbull. The use of such murals was a favorite device of Art Deco designers. In addition to heightening the dramatic effect and enriching the experience of interior spaces, they also were a means of achieving the Art Deco ideal of the unity of design.
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Edward Trumbull (1884-1968) was one of the foremost American moralists of his generation. As a student at the Art Student's League in New York he studied with Robert Raid; in London from 1906 to 1912, he was a student of Frank Brangwyn. Returning to the United States, he was commissioned to do nine panels for the Heinz Administration Building in Pittsburgh.
Among the important ccnmissions of his career, in addition to the Chrysler Building, were murals for: the Pennsylvania State Building at the Panama-Pacific Exposition, the Graybar Building, the Oyster Bar and Restaurant at Grand Central Station, the waiting rooms in Union Station in Washington, D.C., the dining rocms in the Metropolitan Life Insurance Company Building, the cafeteria of the Kress Store at 444 Fifth Avenue, and a branch office of the Union Dime Savings Bank at Madison Avenue and 39th Street.
For Inland Steel, he painted "The Story of Steel" which was presented to the Museum of Science and Industry in Chicago. In 1932 Trumbull was appointed Color Director for the art program of Rockefeller Center to supervise more than 40 murals and 50 sculptural pieces.
The mural in the Chrysler Building depicts "the vision, human energy and engineering ability which made possible the structure." The composition is divided into several parts, each with its own theme. A triangular panel placed over the information booth displays a large muscular Atlas figure. Radiating out from this are three bands which follow the triangular form of the main concourse. The first, showing a series of abstract patterns and lines, was supposed to symbolize primitive, natural forces.
The second, depicting construction workers and techniques, has a specific analogy to the construction of the Chrysler Building. The third shews the development of modem transportation with an emphasis on airplanes. Extending outward over the Lexington Avenue entrance lobby is a large panel with a rendering of the b building as seen from the exterior. The warm tones of the mural harmonize well with the rich colors of the marble and onyx below.
The four elevator halls are lined with the same red marble as the entrance halls and main concourse. The doors of the twenty-eight passenger elevators are a strikingly handsome Art Deco design, displaying an abstract lotus pattern executed in metal and inlaid wood veneers. The elevator cabs are of four design types.
All are abstract patterns, again executed in a variety of inlaid wood veneers. The woods include Japanese ash, English gray hardwood, Oriental walnut, dye ebonized wood, stainwood, Cuban plum pudding, myrtle burl, and curly maple. Ceiling fans in the elevator cabs are of metal, also executed in striking abstract designs. The use of such rich materials to create a luxurious and dramatic effect is characteristic of Art Deco.
The curved staircases at the north and south ends of the main concourse lead to the mezzanine at the second floor and to the basement. The use of highly polished black marble on the curved walls heightens the dramatic effect of these staircases. The railings, which follow the curve of the stairs, are of "Nirosta" steel, and the inner railings have zigzag motifs characteristic of Art Deco design set between the balusters.
At ground floor level, the railings terminate in massive red marble newel posts. The steps are of gray and black terrazzo. Handsome molded glass light fixtures hang from the ceilings above the staircases. These ceilings are finished with aluminum, leaf.
All features of the ground floor interior combine together to create one of the great Art Deco spaces in the city and country. The elements of the design and the rich materials are not only characteristic of the Art Deco style but are also same of the finest examples of their type. All appropriately enhance the progressive image of One of New York's finest office buildings.
The Chrysler Building and the Image of Progress
When completed the Chrysler Building was praised as "an expression of the:intense activity and vibrant life of our day" and as "teeming] with the spirit of modernism,...the epitome of modem business life,.. .standjing] for progress in architecture and in modem building methods." Walter P. Chrysler had sought to create the most desirable office building of the day:
The Chrysler Building is dedicated to world commerce and industry. It was created with a desire to meet the demand of business executives of today who, with their intense activities, must have the most favorable office surroundings and conditions.
The need for abundant light and air resulted in a building of fine proportions and great height. The importance of accessibility and transit facilities dictated the location. The desire for the utmost in conveniences determined the inclusion of unusual facilities of every necessity contributing to the contentment and satisfaction of the business man in his office home.
As an environment in which work may be accomplished efficiently and in comfort, it is believed the finished structure establishes a new ideal—one which will stand as a measure of comparison for office buildings of the future.
The Chrysler Building is therefore dedicated as a sound contribution to business progress.
The building had a number of innovative and desirable features. The soundproofed office partitions were of steel made in interchangeable sections so that the arrangement of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators were not only beautiful in design but also,, specifically at Chrysler's instruction, capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world. To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense.
In the dome was the private Cloud Club, which still exists, and, in the very topmost floor, a public observatory. On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism, .. .meaningless voluptuousness,.. ./and] void symbolism^ " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Forum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building with its ground floor interior remains one of New York's finest office buildings—the elements of its design capturing the eye and imagination of the viewer.
The total design of the ground floor interior helped toe carry out Walter P. Chrysler's aim of dedicating the building to world commerce and industry. With its dramatic effects, elegant materials, and striking ornamental details, the ground floor interior of the Chrysler Building is an outstanding example of the Art Deco style— among the finest in the city and the country.
- From the 1978 NYCLPC Landmark Designation Report
Afton Canyon's surface water makes it unique in the southern California desert. Known locally as "The Grand Canyon of the Mojave" for its dramatic geological formations, this is the only place where the Mojave River flows above ground year-round - providing significant riparian (riverbank) wildlife habitat amid the desert. Since prehistoric times, the natural bounty created by this water source has made Afton Canyon a focus for living things. Dense willows and cottonwoods shaded the river, and thickets of mesquite produced bean pods for food. The ponds, marshes and streams provided habitat for a wide variety of wildlife species.
Photo by Jesse Pluim, BLM.
East 42nd Street, Midtown Manhattan
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report