Tag Archives: New York City

Park Row Building

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Park Row Building was a beginning and an ending: A beginning of really tall buildings, on new iron and steel frames; an ending of horizontal divisions in skyscraper design.

When it was completed in 1899, the 30-story Park Row Building was the tallest building in New York City and the tallest office building in the world. Architects of the day were still undecided on what style to use for skyscrapers. Commercial structures until then had been given a layered look, with cornices and other horizontal bands of decoration. But in the 1890s a consensus was growing that skyscrapers should be designed like a classical column, with a substantial base, a relatively plain shaft and an ornate capital.

Robert H. Robertson, the Park Row Building’s architect, seems to have a foot on both sides of the design chasm.

On one hand, the Park Row facade has three distinct vertical sections, which emphasize the building’s height, and a substantial limestone base and ornate crown. On the other hand, it also has six horizontal divisions, which diminish the building’s height. Robertson himself wrote that he had tried to make the building “look less than its real height,” according to The New York Times.

The real height was impossible to hide: it was two or three times taller than its neighbors. The twin copper-domed cupolas made the building more distinctive. Park Row Building held 950 offices, in which 4,000 employees worked daily. Ten elevators, arranged in a semicircle, each week carried 100,000 people and traveled about 1,000 miles according to one real estate journal. Among the building’s prominent first tenants were the Interborough Rapid Transit (IRT) and the new Associated Press.

The developers picked a heck of a place to be conspicuous: The site was in “Newspaper Row,” the center of the newspaper industry from the 1840s to the 1920s and rich in professional critics. And the critics found faults. They complained that the Park Row Building had completely plain side and rear facades – no applied styling at all. The light courts facing Ann Street and Theatre Alley were braced with exposed steel beams. The shape of the building itself – dictated by the odd conglomeration of seven adjoining lots – made the tower ungainly.

In May of 1920 the Park Row Building found more notoriety: Andrea Salsedo, being held by the Justice Department in connection with a seven-city anarchist bombing spree, fell from the 14th floor. The anarchist version: He was pushed. The police version: He jumped.

Fast Forward

In 2002 the Park Row Building was converted to mixed use. The bottom 10 floors remain commercial – most being used by electronics retailer J & R; the top floors have been converted to 210 apartments. Conversion plans included turning the three-story cupolas into triplex apartments.

(Robert H. Robertson earlier designed the 20-story American Tract Society Building, two blocks away, and the seven-story Lincoln Building on Union Square West and a dozen other notable structures of all types.)

Park Row Building Vital Statistics
  • Location: 15 Park Row, between Ann and Beekman Streets
  • Year completed: 1899
  • Architect: Robert H. Robertson
  • Floors: 30
  • Style: Classical Revival
  • New York City Landmark: 1999
  • National Register of Historic Places: 2005
Park Row Building Suggested Reading

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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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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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Cassa NY

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Cassa NY is a slender white hotel/condominium tower that might remind you of those computer punch cards of the 1960s – rectangular windows appear to have been punched right out of the aluminum skin.

Cassa NY Vital Statistics
  • Location: 70 W 45th Street, just off Sixth Avenue
  • Year completed: 2010
  • Architect: TEN Arquitectos
  • Floors: 43
  • Style: Postmodern
Cassa NY 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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New Era Building

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With its eye-catching Art Nouveau copper mansard roof, the New Era Building stands out in the SoHo Cast Iron Historic District. You can spot the building a block away.

But up close, it’s even more wondrous: The deeply incised white terra cotta detailing of the sixth floor arches has the appearance of carved ivory. What’s more, the facade has been restored to a pristine white.

Confusion…

There seems to be some confusion over the original owner and architect of this building. The “AIA Guide to New York City” accurately describes the structure, but identifies the New Era Building as 491 Broadway, designed by Buchman & Dreiser. The Daytonian in Manhattan blog gives it the right address – 495 Broadway – but also says the building was designed by Buchman & Dreiser, and was originally owned by Jeremiah C. Lyons. The NYC Landmarks Preservation Commission says 495 Broadway was owned by Augustus D. Julliard and designed by Alfred Zucker; 491 Broadway, the larger building next door, was owned by Lyons and designed by Buchman & Dreiser. I’m going with the Landmarks Preservation Commission version.

New Era Building Vital Statistics
  • Location: 495 Broadway between Spring and Broome Streets
  • Year completed: 1893
  • Architect: Alfred Zucker
  • Floors: 8
  • Style: Art Nouveau
  • New York City Landmark: 1973 (included in SoHo Cast Iron Historic District)
New Era Building Suggested Reading

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Health, Hospitals, and Sanitation Building

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The Health, Hospitals, and Sanitation Building (formerly NYC Department of Health Building) overlooks Thomas Paine Park and Foley Square, surrounded by the federal, state and city courts of Manhattan’s Civic Center. It’s a restrained Art Deco granite cube, 10 stories high, pierced on the Leonard Street side by a light court above the third floor.

The principal decorations are bronze grillwork and torcheres, and health-themed medallions on the sides of the building by Oscar Bach, whose work also adorns Radio City Music Hall, the Woolworth, Chrysler, and Empire State Buildings – among other landmarks.

The joy is in the details.

Health, Hospitals, and Sanitation Building Vital Statistics
  • Location: 125 Worth Street, between Lafayette and Centre Streets
  • Year completed: 1935
  • Architect: Charles B. Meyers
  • Floors: 10
  • Style: Art Deco
Health, Hospitals, and Sanitation Building Suggested Reading
  • Department of Citywide Administrative Services listing
  • Emporis database
  • Ephemeral New York blog
  • Eating in Translation blog

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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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