The U.S. Capital is an amazing city, architecturally. While many of its structures are intended to be monuments, others are monumental simply because of the occupant’s size – the Departments of Agriculture and Commerce, for example – not to mention the Defense Department.
Here is a tiny sampling, shot in 2013; more to come.
40 East 62nd Street lights up the block with its colorful gold, blue and red terra cotta; bay windows and battlements suggest a medieval castle – (a man’s home, after all…).
The building is part of the Upper East Side Historic District, in fine company if you’re looking for historic residences.
Among the building’s wealthy and famous tenants was Henry Janeway Hardenburg, architect of the Plaza Hotel and The Dakota.
The New York Times Streetscapes column and Daytonian in Manhattan blog are excellent reads; the Daytonian blog includes old photos and floor plans.
This is the second home of the Colony Club, the prestigious women’s social club that quickly outgrew its 1908 Stanford White-designed headquarters on Madison Avenue and E 31st Street. (Why didn’t White get to design the second club? He was shot by a jealous husband – but that’s another story.)
Like men’s clubs of the era, Colony Club was big on fitness facilities: the basement has what is said to be New York’s deepest indoor pool, a spa, and (via express elevator) a gymnasium and squash courts on the fifth floor. Other facilities included a ballroom and even a kennel for members’ pets.
Membership was (and still is) restricted to women – you must be recommended by a current member to be considered. Past members include Harrimans, Morgans, Astors and Rockefellers, to drop a few names.
If you’ve ever wondered how an old building could look so new, here’s how!
A restoration team from Jablonski Building Conservation, Inc. is restoring the facade of 105 W 22nd Street / 695-709 Sixth Avenue. Xsusha Flandro, Senior Conservator, was kind enough to explain the process:
“The tiles are glazed ceramic tiles manufactured by the Hartford Faience Company (incorporated from the Atwood Faience Company in 1894). The current building was erected in phases between 1889 and 1911. The tiles are ca. 1913 when Chicago business man J.L. Kesner (hence the “K” on the tile columns) leased the building and submitted plans for alteration to the first floor store fronts. Oddly enough Kesner was never in the building as he backed out of the lease, but since the construction plans were already submitted the Ehrich Brothers (owners of the building) went through with the building plans and completed the tile columns. The building is a contributing member to the Ladies Mile Historic District.
“A lot of prep work goes into the restoration of tiles. The first thing we did were cleaning tests. We completed small cleaning test samples and then based on results proceeded with the most gentle and effective of the cleaners tested to clean all the tiles. We also tested paint strippers (all pH neutral – not acidic and not alkaline – because harsh strippers can damage the glazes) in the same manner as the cleaners because some columns had graffiti and general over paint. After cleaning and paint removal we moved into removing abandoned anchors (where signage and such had been attached over the years). Then we moved into patching. We utilized a repair system manufactured by Edison Coatings out of Connecticut. Edison Coatings provided us with custom colored patch repair material for each color of glaze, after the patching was complete the patches are sanded and shaped to the correct profile, and then in-painted (only painted where the patch is) using a polyurethane paint system (also by Edison Coatings) custom colored to the glazes on the tiles. This is where the artistry comes in and we blend the colors onsite to match the adjacent historic tile glazes. No coating is placed over the work after we are finished, as everything we use is specifically manufactured for outdoor use.
“In this project we are conserving nine tile columns. All missing tiles or tiles which we could not successfully conserve are being replaced with custom tiles, manufactured by Shenfeld Studios, to match the existing. It took us approximately three weeks to complete all the conservation work on site. The replacement tiles are still a few months out.”
Ms. Flandro noted that the work requires extensive training.
“To be an architectural conservator you have to have a Master’s degree in Historic Preservation – and usually in the conservation sector of historic preservation, which is where you gain a lot of your materials knowledge. Similar to how art conservators go through school and then specialize in one material, we go through school and specialize in building materials. In our company in order to progress past junior conservator we are required to apply to be a Professional Associate with the American Institute of Conservation (of which I hold PA status and the owner of Jablonski Building Conservation, Mary Jablonski, is a Fellow.) AIC – Professional Associate requires at very least 3 years’ experience and your previous projects/works are peer reviewed and letters of recommendation are required.”
(The company’s website is jbconservation.com.)
The dazzling white Hugh O’Neill Building on Sixth Avenue is a great example of historic restoration and recycling in New York. Not only did the developers bring an old building back to life, they also magically added two floors without changing the original appearance. While structural problems have appeared, the future looks bright.
Hugh O’Neill, an Irish immigrant, was a very successful retailer. He outgrew his original Sixth Avenue store and replaced it in 1887 with a four-story double-domed emporium. In 1890, he expanded the store at the rear of the West 20th Street wing. In 1895 he added a fifth floor (raising the domes one story in the process).
Alas, after O’Neill died in 1902 the store (and most neighboring retailers) deteriorated and closed. The corner domes were removed in the early 1900s, and the building was converted to lofts.
In 2004 the by-then grey building got a new lease on life: Conversion to condominium apartments. The developer Elad Properties, and architects Cetra/Ruddy Inc. got Landmarks Preservation Commission approval to restore the missing domes – and add two stories of apartments at the same time. The trick was to set back the new floors so that they are not visible from the street.
In December 2012 one of the building’s columns on West 2oth Street collapsed, forcing evacuation. Repairs were made, but scaffolding still covers the West 20th Street facade at this writing (June 2013).
Highlights from photos shot in April, 2013 – but not yet added to a neighborhood or specific building gallery. Neighborhoods include Lower Manhattan, Greenwich Village, Midtown, Upper West Side – and Hoboken – Jersey City, New Jersey.
47 Plaza Street West is often described as Brooklyn’s own Flatiron Building – and the similarities are striking: Both have a triangular footprint, but 47 Plaza Street West is a little more complex – its eastern side gently curves to follow Grand Army Plaza’s perimeter. The 1928 Brooklyn apartment building and the 1902 Manhattan office building both overlook a pedestrian plaza and a park (though the Brooklyn Plaza and park are MUCH more impressive). Both buildings are in Renaissance style – though 16-story 47 Plaza Street West is Italian Renaissance to 21-story Flatiron’s French Renaissance.
Brooklyn’s Flatiron has something that the original lacks – a sibling on the same block. Berkeley Plaza, the 14-story apartment building at 39 Plaza Street West, was also designed by Rosario Candela, in the same style, at the same time.
Chelsea Modern is a stunning, award-winning residential design with innovative features – and with a perfect companion building next door on West 18th Street. Even with its mid-block location, the 12-story zig-zagging blue glass facade stands out.
Architect Audrey Matlock took a page from Ludwig Mies van der Rohe’s Seagram Building – perfectly matched window blinds are built in, so that no one can destroy the symmetry or color of the facade by installing, say, calico curtains. But condo buyers can alter their floor plans somewhat – some of the bedroom walls are movable. Handy when you need to make the guest room less hospitable. You can open the windows at Chelsea Modern – but not by sliding or swinging the sash: It moves straight out, parallel to the side of the building. Fresh air enters (or your culinary excesses exit) around the sides of the sash.
As with anything radical, Chelsea Modern has its passionate detractors. They lament “there goes the neighborhood” as historic architecture is razed and glazed. (See the Jeremiah’s Vanishing New York blog. Even if you don’t agree with the author, you have to appreciate the writing.) Two warehouses died in the making of this building.
459 W 18th Street so perfectly complements Chelsea Modern, the condo next door, you might think that they were one building. That’s quite a trick, considering that the two structures have different heights, widths, orientations, colors and materials – not to mention architects.
But 459’s vertically-aligned angles and stark black and white aluminum panels paradoxically marry the blue and white glass and horizontal lines of Chelsea Modern.
“Starchitect” Frank Gehry’s first New York building, IAC Building, resembles billowing sails – appropriate, just across 11th Avenue from the Hudson River.
The building’s skin is fritted glass – glass panels with ceramic paint heat-fused to the surface. This high-tech finish keeps the building cooler, but (at least in this application) looks a bit like it was spray-painted white. (Visit the IAC HQ website for short time-lapse construction videos; you’ll see the building’s concrete skeleton without the glass skin.)
There are no windows with traditional frames – continuous ribbon windows are formed by the non-fritted band of glass on each floor. There very nearly are no exterior doors – the exterior openings are small, minimally framed glass doors. The main entrance, on W 18th Street, has a tiny flat glass canopy. The rear service and garage entrances have no canopy.