Tag Archives: lower manhattan

SoHo

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SoHo is (according to New York’s Landmarks Preservation Commission designation report) the world’s largest concentration of cast iron facades. The style emphasizes floor-to-ceiling, wall-to-wall windows. My personal favorite is the Singer Building on Broadway – an L-shaped building with its second entrance on Prince Street. The row of buildings along the west side of Broadway is predominantly block-through structures with back entrances on Mercer Street.

Most visitors to SoHo (South of Houston – which New Yorkers pronounce How-ston) are more interested in shopping than in architecture: The district has become a designer outlet, missing only a free parking lot. Even Canal Street – once the preserve of scrap, tool, and junk shops – is becoming semi-respectable.

As you tour the area you may notice “A.I.R.” painted on some buildings. That stands for “Artist In Residence” to alert the Fire Department that the lofts may be occupied.

SoHo Historic District as defined by the Landmarks Commission extends from Houston Street south to Canal Street, and from West Broadway east to Crosby Street. This gallery includes some buildings (even-numbered) from the west side of West Broadway and St. Anthony of Padua Roman Catholic Church (on Sullivan Street off Houston Street).

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American Tract Society Building

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If you don’t like the American Tract Society Building, blame the sinners of 1824 New York. The building is here because the ATS’ Rev. William Allen Hallock believed that the religious publisher should be headquartered where it is needed most – in “the great wicked city of New York.”

Fast forward to 1894: The ATS decided to erect an office building on their land, as an investment. They chose Robert H. Robertson – prominent for his churches and religious institutions – to design the building.

Like his later Park Row Building (15 Park Row, completed 1899), the American Tract Society Building mixes styles: Romanesque and Renaissance Revival. This structure also mixes construction types: the facades are part self-supporting masonry, part curtain wall.

When completed, the American Tract Society Building was among New York’s tallest structures – tallest, by full floor count (20). But Robertson, who did not really like tall buildings, designed this one in layers that de-emphasized the structure’s height.

Alas, the building had more than its share of bad luck. For starters, during construction a plasterer’s assistant fell 14 stories to his death. ATS declined to help the worker’s family despite the glare of publicity – even banning an alms box on the site. In the first year of operations, three elevator accidents injured passengers. Then in 1897 another elevator dropped 19 floors, killing two people.

The elevator accidents contributed to poor rental performance, and by 1913 ATS was unable to meet the mortgage. Mortgage holder New York Life Insurance Company resold the building in late 1919, but it was in default again by the end of 1936. The building has changed hands several times since – including a 15-year span under Pace University, which owns two neighboring buildings. The American Tract Society Building is now a residential building, except for retail space on the ground floors (the lot slopes steeply toward the east so that the basement level is exposed in the rear).

The elevators appear to have been totally replaced.

American Tract Society Building Vital Statistics
  • Location: 150 Nassau Street at Spruce Street
  • Year completed: 1895
  • Architect: Robert H. Robertson
  • Floors: 23
  • Style: Romanesque and Renaissance Revival
  • New York City Landmark: 1999
  • National Register of Historic Places:
American Tract Society Building Suggested Reading

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Liberty Tower

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Even if Liberty Tower wasn’t a beautiful and distinctive landmark building – a soaring white Gothic tower with acres of terra cotta – it would be significant. Significant because the building is in its second life (third, if you count the $5 million post-9/11 restoration), and was key in returning the Financial District to its earliest use – as a residential neighborhood.

But to start at the beginning….

The 33-story Liberty Tower was built at the same time as the Metropolitan Life Insurance Company tower at the foot of Madison Avenue, and just before the more famous Woolworth Building. The architect, Henry Ives Cobb, was an early adopter of steel construction, but adhered to historic styles throughout his career. In this case, he opted for one of his favorite styles, Gothic.

Originally known as the Bryant Building – for William Cullen Bryant, editor of the New York Evening Post which previously occupied the site – Liberty Tower was among the tallest structures in the neighborhood. The elaborate terra cotta ornament of the upper stories makes it seem that the building expands as it goes up, until capped by the steep copper roof.

The building’s north facade – facing other buildings instead of a street – is clad in cream-colored brick with terra cotta accents. Contrasting white brick patterns suggest medieval half-timbering.

The building was sold in 1916, and again in 1919 – to Sinclair Oil (of Teapot Dome infamy), which held the building until 1945 as the Sinclair Oil Building. From 1945 to 1979 Liberty Tower continued to be used for offices, but not profitably.

Second Life

Architect Joseph Pell Lombardi sized up the building’s problems – and found opportunity. As he described it, Liberty Tower in 1978 was “…an economically failed building. Substantially vacant, it was in a rundown condition with antiquated mechanical facilities and only one stair (two were required). New York was in the midst of a severe recession and soothsayers were again predicting that the Financial District would never recover.”

The building’s small floor size – 60 by 80 feet – made it too small to attract big companies as tenants. The 1916 zoning law meant that a modern replacement building on the same site would be even smaller, so that option was economically unfeasible. However, the limited floor size was an asset for residential use: apartment owners could have views in two, three or even four directions. The building’s history and beauty were icing on the cake.

Lombardi’s solution borrowed from the loft conversion concept: Whole and partial floors were sold to cooperators as “raw space” which the tenants themselves designed and built. Thus, each of the 89 apartments is different.

Since then, scores of office buildings in the Financial District have been converted to residential and other uses.

Post-9/11 Restoration

The collapse of the World Trade Center towers shook Liberty Tower, damaging some of the terra cotta blocks. Subsequent water seepage made the problems worse. Fortunately, the tenants voted to spend $5 million to restore or replace 3,200 terra cotta blocks and 202 exterior sculptures.

(If you are interested in architectural restoration and recycling, I recommend the Lombardi links below.)

Liberty Tower Vital Statistics
  • Location: 55 Liberty Street at Nassau Street
  • Year completed: 1910
  • Architect: Henry Ives Cobb; Joseph Pell Lombardi (restoration/conversion)
  • Floors: 33
  • Style: Gothic
  • New York City Landmark: 1982
  • National Register of Historic Places: 1983
Liberty Tower Suggested Reading

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Broadway Chambers Building

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Babe Ruth has a couple of things in common with Cass Gilbert, architect of the Broadway Chambers Building. Both were superstars in their field, and both came to New York via Boston. (But Cass Gilbert came 20 years ahead of the Babe.) *

According to the NYC Landmarks Preservation Commission, St. Paul, Minnesota-based Gilbert became prominent for his 1893 design of the Minnesota State Capitol. That led to an 1896 commission to design a commercial building – the Second Brazer Building – in Boston. Alexander Porter, an investor in that project, was so impressed with Gilbert’s work that he introduced him to Edward Andrews, who happened to be looking for someone to design a new building on Broadway at Chambers Street.

The resulting Broadway Chambers Building, begun in March 1899, was Gilbert’s first project in New York. It was immediately successful – and followed by nine other architectural landmarks by 1936. (Babe Ruth’s career closed in 1935.)

Like other tall buildings of the era, the Broadway Chambers Building was designed like a classical column, with base, shaft, and capital. Gilbert used the then-popular Beaux Arts style of ornamentation, with a twist dictated by Andrews: Color, to make the building stand out among the monochromatic neighbors.

The three-story base is of pink granite; the 11-story shaft is of red and blue brick; and the four-story capital is of beige terra cotta with blue, green, yellow and pink accents, and a green copper cornice. The base and crown are deeply rusticated (the joints between the blocks of granite or terra cotta are deeply incised). The brickwork of the middle floors has bands of raised brick that mimics (in reverse) the rustication.

While the Broadway Chambers Building was Cass Gilbert’s first New York project, his most famous building was erected three blocks south and 13 years later: The Woolworth Building (celebrating its centennial in 1913). Gilbert’s other New York City landmark buildings include: United States Custom House (1907), 90 West Street Building (1907), Rodin Studios (1917), New York Life Insurance Company (1928), 130 W30th Street (1928), Audubon Terrace auditorium and art gallery (1928), New York County Lawyers’ Association (1930), and United States Courthouse (1936 – completed after Gilbert’s death in 1934).

* OK, I know I just gave architects and architectural historians massive heart attacks by coupling a great architect with a mere baseball player. I accept that I am forever banned from the Society of Architectural Historians and the American Institute of Architects. But this is a website aimed at non-professionals.

Broadway Chambers Building Vital Statistics
  • Location: 277 Broadway at Chambers Street
  • Year completed: 1900
  • Architect: Cass Gilbert
  • Floors: 18
  • Style: Beaux Arts
  • New York City Landmark: 1992
Broadway Chambers Building Suggested Reading

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Woolworth Building

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The Woolworth Building is a landmark of architecture, as well as of New York, and celebrates its centennial in 2013. Take a good look while you can – new tower construction is fast crowding Cass Gilbert’s elegant tower from the west and south; City Hall Park may soon be the only place from which to see the building in all its glory.

The Woolworth Building has several claims to fame: It was the world’s tallest building from 1913 to 1929; it was officially opened by then-President Woodrow Wilson; it became the prototype “romantic skyscraper”; it is considered Cass Gilbert’s finest work; it is a New York City Landmark and in the National Register of Historic Places. However, it didn’t start out to be any of those things.

Frank Woolworth’s original plan in 1910, according to the NYC Landmarks Preservation Commission, was for a “standard twelve- to sixteen story office building” to be shared with Irving National Bank’s headquarters. But toward the end of the year Woolworth began to raise his sights, first to build higher than his immediate neighbors, and finally to build the world’s tallest building, for the advertising value.

Architect Cass Gilbert was already acclaimed for designing “the last word” in tripartite (base-shaft-capital) buildings, the Broadway Chambers Building, three blocks north. But he abandoned that scheme to create what became known as a “romantic skyscraper” which celebrated rather than hid its steel frame construction. Gilbert used Gothic-styled terra cotta detailing to accentuate the Woolworth Building’s verticality and to emphasize the steel frame, but it was Gothic inspired by civic buildings, not churches. Gilbert was said to be annoyed with references to the Woolworth Building being a “Cathedral of Commerce.”

To maximize rental space, Gilbert’s facade minimized the use of columns, pilasters and arcades that would cast deep shadows and help define the building’s shape. Instead, he used colored accents to give the illusion of deeper shadows and strong vertical lines.

Although best known for its soaring addition to the New York skyline, the ground floor interior is every bit as inspiring – spectacular, in fact. It’s one of the few interior spaces to be designated a New York City Landmark. There are occasional tours by architectural societies. In addition, the building now permits photography (no flash or tripods) on a limited basis – for a $10 fee.

For some behind-the-scenes photos of the Woolworth Building interior, visit the photo links under “Woolworth Building Suggested Reading.”

Cass Gilbert fans will find four or five other of the architect’s landmarks within walking distance: Thurgood Marshall United States Courthouse (Centre Street at St. Andrews Plaza), Broadway Chambers Building (Broadway at Chambers Street), New York County Lawyers Association (Vesey Street between Broadway and Church Street), 90 West Street Building (West Street between Albany and Cedar Streets), and – if you don’t mind a little exercise – the Alexander Hamilton Custom House (1 Bowling Green – at the foot of Broadway).

Woolworth Building Vital Statistics
  • Location: 233 Broadway between Barclay Street and Park Place
  • Year completed: 1913
  • Architect: Cass Gilbert
  • Floors: 60*
  • Style: Gothic
  • New York City Landmark: 1983
  • National Register of Historic Places: 1966

* The official 60 floors requires a little fudging; the top five stories – in the pyramidal roof – are not habitable; the floor numbers have unexplained gaps (e.g., no 42nd floor).

Woolworth Building Suggested Reading

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Engine Company 31

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Engine Company 31 is the most elaborate of Napoleon LeBrun’s firehouse designs, and was derided as “a manifestly extravagant absurdity.” Extravagant or not, it’s certainly impressive.

Engine Company 31 moved in during 1895 after New York City sold the unit’s old home to New York Life Insurance Company. The Fire Department left the building in 1970 and Engine Company 31 was ultimately disbanded in 1972. The Downtown Community Television Center now uses the building as a studio and production center.

Engine Company 31 Vital Statistics
  • Location: 87 Lafayette Street at White Street
  • Year completed: 1895
  • Architect: Napoleon LeBrun & Sons
  • Floors: 3
  • Style: Loire Valley Chateau
  • New York City Landmark: 1966
  • National Register of Historic Places: 1972
Engine Company 31 Suggested Reading

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Ahrens Building

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Ahrens Building is an early example of Romanesque Revival adapted to a steel-frame building, designed by George H. Griebel. Its design blends polychrome brick, terra cotta and metal over a limestone base (though the limestone is largely obscured by the current storefront).

Small by today’s standards, the Ahrens Building was just over the six-story height common for the day, and included an elevator.

Herman F. Ahrens, the owner, was a liquor merchant who had his own store – and later a saloon – on the ground floor; offices occupied the upper floors.

The Ahrens Building is surrounded by the much larger L-shaped Hungerford Building (now NYU’s Lafayette Hall), built in 1914.

Ahrens Building Vital Statistics
  • Location: 70 Lafayette Street at Franklin Street
  • Year completed: 1896
  • Architect: George H. Griebel
  • Floors: 7
  • Style: Romanesque Revival
  • New York City Landmark: 1992
Ahrens Building Suggested Reading

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Astor Building

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The Astor Building, built on the site of former Astor family homes, was beautifully restored during a 1996 condominium conversion after years of neglect. The gleaming white brick and terra cotta facade has the distinction of treating every floor differently.

The building was originally lofts for garment industry manufacturing. From 1993 to 2004 this was the home of The New Museum for Contemporary Art – occupying the ground floor and basement. The building’s owners tried to convert it to a luxury hotel, but failed; new owners stepped in with a condo conversion. Though the museum moved out, the building still calls itself “The New Museum Building.” Read the Daytonian in Manhattan blog for more fascinating (sometimes bizarre) history.

And then just enjoy the building, a floor at a time.

Astor Building Vital Statistics
  • Location: 583 Broadway, between Prince and Houston Streets
  • Year completed: 1897
  • Architect: Cleverdon & Putzel
  • Floors: 12
  • Style: Beaux Arts
  • New York City Landmark: 1973 (part of the SoHo Cast Iron Historic District)
Astor Building Suggested Reading
  • NYC Landmarks Preservation Commission designation report (SoHo Cast Iron Historic District, p. 48)
  • The New York Times archives (about the restoration)
  • The New York Sun article
  • Daytonian in Manhattan blog
  • City Realty listing

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Lafayette Hall

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Lafayette Hall (originally Hallenbeck-Hungerford Building) is an attractive neo-Gothic industrial building built to accommodate heavy equipment such as printing presses. It was converted in 1999 to a residence hall for NYU students. The L-shaped building wraps around the seven-story landmark Ahrens Building.

There are interesting grotesques in the upper stories – including headless characters on the 13th floor. Unlucky for them.

Lafayette Hall Vital Statistics
  • Location: 80 Lafayette Street between Franklin and White Streets
  • Year completed: 1915
  • Architect: William E. Austin
  • Floors: 16
  • Style: Neo-Gothic
Lafayette Hall Suggested Reading

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Armeny Building

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Nassau and Fulton Streets meet at a busy corner, architecturally speaking: The NYC landmark Fulton Building is on the SW corner; the NYC landmark Bennett Building is on the NW corner; and the Armeny Building is on the SE corner. The Fulton and Armeny buildings were both designed by De Lemos & Cordes, the architects who gave us the Siegel-Cooper Buildings and Macy’s.

If the building looks top-heavy, with an odd transition between the sixth and seventh floors, don’t blame De Lemos & Cordes. In 1893 the owner decided to add two floors, and he hired a different architect for the job. Soon after, pen-maker Gyulo Armeny bought the building.

See the wonderful Daytonian in Manhattan blog for more fascinating history about the building and its tenants.

Today, the ground floor is occupied by a cafe; the upper floors are rental apartments (see the Street Easy listing for details).

Armeny Building Vital Statistics
  • Location: 90 Nassau Street at Fulton Street
  • Year completed: 1889
  • Architect: De Lemos & Cordes
  • Floors: 8
  • Style: Romanesque
Armeny Building Suggested Reading

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