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Park East Synagogue

Park East Synagogue is an “especially imaginative” example of the Moorish Revival architecture popular for 19th century synagogues, in the words of New York’s Landmarks Preservation Commission.

“A detailed description of this complicated facade,” said the Commission, “cannot recreate the liveliness and imagination with which the elements are composed. A multitude of readings is possible and each element is used in an original and sometimes surprising context. Elements that have structural roles are used ornamentally and in conjunction with other elements in a unique manner, such as the frequent use of balusters in place of columns or piers in arcades. This inventiveness adds a playful, almost whimsical, note to the profusely ornamented facade which is reminiscent of the character, if not the detail, of Northern Renaissance architecture.”

The report notes that the towers were originally topped by bulbous domes (similar to Central Synagogue).

The building’s inventiveness fit the congregation, which founding Rabbi Bernard Drachman described as a “harmonious combination of Orthodox Judaism and Americanism.”

At the same time, the synagogue was a huge jump for the architects, Ernst Schneider and Henry Herter, whose main work had been tenements in the Lower East Side and Clinton.

Park East Synagogue Vital Statistics
Park East Synagogue Recommended Reading

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Citigroup Center

Citigroup Center is remarkable New York architecture, with an engineering story even more dramatic than its photographs. The distinctive floating tower (renamed 601 Lexington Avenue in 2009) became a scary 59-story lesson for architects, engineers, public officials, lawyers and journalists worldwide.

Two elements make Citigroup (originally Citicorp) Center so distinctive: The southwest-facing 45-degree roof and the nine-story stilt base.

The signature angled roof, unmistakably visible for miles, was designed as a solar collector. A power gauge in the lobby once showed how much electricity was being generated by the sun. Apparently the solar panels were no threat to Con Ed – they’ve since been unplugged.

The stilt base was designed to turn a profit, not heads. It was almost a disaster.

The nucleus of the building’s site was owned by St. Peter’s Lutheran Church, which wanted to sell the land and use the profits to build a new church in a less valuable location. As Citicorp assembled the other pieces of the site, St. Peter’s discovered that they couldn’t locate a suitable new church site. Oops. Citicorp’s solution was to build a new church on the corner, and erect the office tower above the church. (See “Holdouts!: The Buildings That Got in the Way” by Andrew Alpern and Seymour Durst for the full story.)

With the church located on the corner, the tower supports had to be placed at the center of each wall, instead of at the corners. This, in turn, required special bracing to transfer the weight of the building to the piers.

There was a miscalculation. In determining the maximum loads, LeMessurier had considered the effect of winds perpendicular to the facades – but not “quartering” winds that would push against two sides simultaneously. Making matters worse, the steel contractor had substituted bolted joints for the much stronger (but $250,000 more expensive) welded joints that were specified. LeMessurier discovered the error and the bolt substitution a year after the building was completed. The engineer ordered wind tunnel tests and discovered to his horror that the building was vulnerable to winds over 70 m.p.h.

After urgent meetings with Citicorp, LeMessurier ordered two-inch-thick plates to be welded in place over the bolted joints. Welders worked every night for three months in a race against hurricane season. They almost lost: Hurricane Ella was headed for New York on Sept. 1, 1978 but fortunately it turned out to sea, averting a massive evacuation of the neighborhood. (The Red Cross had estimated 200,000 deaths if the building toppled.)

The massive repair project went virtually unreported for 17 years – a newspaper strike hit New York just as the repairs began; The New Yorker broke the story in 1995. Diane Hartley, a Princeton engineering student, was the hero in this drama. In the course of writing her thesis, she had questioned LeMessurier’s calculations – triggering his reevaluation of the design. LeMessurier’s unflinching disclosure of the problem is today used as a case study in professional ethics.

In 2002 the building was reinforced again – this time one of the massive base columns was encased in steel and copper to protect against a terrorist bomb blast.

The engineering crisis overshadowed Citicorp Center’s other impressive features: Double-decker elevators used interior space more efficiently; a tiered, sunken plaza beneath the building’s southwest corner provides space for sidewalk cafes and entry to the subway system; a 410-ton “tuned damper” system in the crown minimizes the building’s wind-induced swaying.

Drama notwithstanding, Citigroup Center is an impressive and attractive addition to New York’s architectural treasure chest, whether viewed from afar, up close or inside.

Citigroup Center Vital Statistics
Citigroup Center Recommended Reading

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Rosario Candela

Rosario Candela (1890-1953) is considered one of the masters of New York City apartment architecture. If you’ve never heard of him before, it’s only because outwardly his buildings aren’t as flashy as more famous works such as the Dakota, Dorilton, Ansonia or Chatsworth.

Candela made his mark in the late 1920s with luxury apartment buildings – stately and grand on the outside, luxurious on the inside, often with the scale and planning appropriate for mansions. Many of his high-ceilinged apartments contained libraries, servants’ quarters, four and five bedrooms and more. Further, apartment plans separated public (entertainment) areas from private areas and both separate from service areas. House guests could not wander into the boudoir, and maids stayed discreetly out of sight of guests and master.

Candela was an early developer of the penthouse – his way of turning the building code into extra luxury/profit. The building code required setbacks; setbacks became private wrap-around terraces for larger, opulent apartments.

When business slacked off during the Great Depression, Candela developed another profession – cryptology. He even found time to write two books on the subject.

Candela’s body of work is remarkably intact. Many of his buildings are protected by NYC landmark status; his 81 apartment buildings are reportedly all still standing, so you can go see them. To see the interiors, look for a copy of “The New York Apartment Houses of Rosario Candela and James Carpenter” by Andrew Alpern; it contains floor plans and interior photos (and it’s the source that other authorities quote).

Rosario Candela Representative Buildings
Rosario Candela Suggested Reading

Harde & Short

The firm of Harde & Short designed intricate apartment building facades for nearly a decade – 1901 to 1909 – then abruptly split up with no exceptional buildings between them.

London-educated Herbert Spencer Steinhardt (later shortened to Harde) designed upper west side tenements until 1900; he met Richard Thomas Short in the offices of James E. Ware & Son. Harde, son of a real estate entrepreneur, owned and developed buildings in addition to designing them. In fact, the team’s first significant building – the 1903 Red House – was owned by a Harde subsidiary.

Red House led to a commission for 45 E 66th Street, which led to 44 W 77th Street, which in turn led to a complete change of pace – Alwyn Court Apartments.

Harde & Short Representative Buildings
Harde & Short Suggested Reading

Napoleon LeBrun

Philadelphia-born Napoleon LeBrun (1821-1901) entered architecture at age 15, working in the office of Thomas Walter. He began his own practice just six years later, and designed several Philadelphia landmarks before moving to New York in 1864.

LeBrun is best known for churches and civic buildings; LeBrun and sons Pierre and Michel designed more than 40 buildings for the Fire Department of New York between 1880 and 1895. The firm also designed the landmark Metropolitan Life Building and the annex Tower, Home Life Insurance Company Building, and, further afield, upstate New York’s sprawling Mohonk Mountain House.

Napoleon LeBrun Representative Buildings
Napoleon LeBrun Suggested Reading

4545 Center Boulevard

4545 Center Boulevard is a new (still leasing at this writing) apartment tower in Long Island City designed by Miami-based Arquitectonica. The balcony-studded, rippled glass facades rise 40 floors over the East River, part of the Queens West development behind the giant Pepsi sign and Gantry Plaza State Park.

An attached six-story parking garage/amenities center is topped by a 50,000-square-foot “amenity deck” indoor/outdoor recreation area, replete with deck chairs.

This was the last of five towers along three blocks developed by TF Cornerstone. (TF stands for Tom and Fred Elghanayan.)

4545 Center Boulevard Vital Statistics
4545 Center Boulevard Recommended Reading

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PS 1

PS 1, originally First Ward School, was built in 1892 when Long Island City was actually an independent city. The building’s 35 classrooms were supplemented with a new wing in 1905, which added 21 classrooms. New York City still owns the building.

The square tower at the building’s southwest corner originally had a clock and bell. The school closed in 1962; in 1978 the NYC Institute of Contemporary Art reopened the building as “Project Studios One” gallery and studio space. The Museum of Modern Art took over the museum (via merger) in 2000. MoMA appended a cast concrete entrance building to the site’s northeast corner in 2011.

The restored red brick and terra cotta structure is a joy to look at, but the concrete addition seems to shout, “Mr. Gorbachev, tear down this wall!”

PS 1 Vital Statistics
PS 1 Recommended Reading

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21 West Street

21 West Street (aka Le Rivage), a slender 31-story Art Deco landmark, was converted from offices to apartments in 1998. The building complements the adjoining Downtown Athletic Club, designed by the same architects but built five years earlier.

When built in 1931 (at the same time as the Empire State Building), 21 West Street was across the street from the waterfront. Upper-story tenants then had an unobstructed view of the Hudson. Battery Park City was built on landfill placed in 1980 from excavation for the World Trade Center.

The exposed corners of the building are cantilevered, allowing corner windows. The building was promoted as “An office building with glass corners.” The original red window frames have been replaced by a more neutral tan matching the brick surrounds.

Starrett & Van Vleck used different-colored bricks to create a “woven” texture and to accentuate the building’s vertical lines. The Washington Street facade has setbacks at the 10th and 16th floors; all three facades have setbacks above the 21st, 26th, 29th and 30th floors.

21 West Street Vital Statistics
21 West Street Recommended Reading

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Bowling Green Offices

Bowling Green Offices is New York’s only “Hellenic Renaissance” style building.* It’s an architectural style invented by brothers William and George Ardsley as “a free but pure treatment of ancient Greek architecture.”

Whatever the style, it has crisp, lively ornamentation that stands out from its neighbors on “Steamship Row.” (When Bowling Green Offices was built, One Broadway was still a Queen Anne-style red brick building, and the Cunard Building had not yet been built; the Hudson River was just three blocks to the west.)

In plan, the building is U-shaped, with the base at the north, next to the Cunard Building. The light court in the middle of the U is aligned with the light court of One Broadway, the neighbor to the south.

This was the site of high drama: White Star Line, an early tenant, was besieged by worried relatives and friends of passengers aboard The Republic, which had been rammed by the Italian ship Florida in 1909. All passengers were safe in that incident, but three years later the offices were jammed again as news of the Titanic spread. Drama of a different sort hit the building in 1915: Seven elevators simultaneously fell; and seven months later, four elevators repeated the performance.

In 1920, the owners added a 17th floor and, at the north end of the building, a four-story tower.

Architect George Ardsley is better known as an author of 25 books on decorative art, and as a designer of pipe organs – including the famed Wanamaker organ in Philadelphia.

* The only other building in this style was the Layton Art Gallery in Milwaukee, now demolished.

Bowling Green Offices Vital Statistics
Bowling Green Offices Recommended Reading

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Keuffel & Esser Company Building

Keuffel & Esser Company Building, a New York landmark designed by De Lemos & Cordes, is well-preserved Renaissance Revival architecture on Fulton Street.

Like many commercial buildings in lower Manhattan, this has been converted (2010) to residential use – Compass Points Condominiums. “Compass Points” refers to two of Keuffel & Esser’s lines of business: Drafting/drawing instruments and surveying instruments.

Unlike many commercial buildings in lower Manhattan, this facade has been well preserved and restored. The Fulton Street side is the building’s most impressive facade, although the back of the building (42 Ann Street) is actually one story taller.

Architects Theodore W. E. De Lemos and August W. Cordes were successful designers of commercial buildings. Among their accomplishments are the Macy’s department store (original Broadway building), the Siegel-Cooper Department Store (now occupied by Bed Bath & Beyond) on Sixth Avenue, and the original Empire State Building (named for the Empire State Bank), 640 Broadway at Bleecker Street.

Keuffel & Esser Company Building Vital Statistics
Keuffel & Esser Company Building Recommended Reading

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