Chovevei Torah Synagogue, 1932. For much of the 20th century this grand building housed an Orthodox Jewish synagogue. The building is currently used for weddings and family and religious events by the Lubavitch Hasidic community.

Thallon Mansion, 1930. Robert Thallon was a Scot who arrived in the United States in 1853. Over the next decade he became a pioneer in the field of food exporting and a founder of the New York Produce Exchange. After a decade aboard post-retirement, Thallon and family returned to New York. Thallon the elder bought a home in the tony community along St. Marks Avenue at no. 816. Robert Thallon Jr., an accomplished musician and music teacher, set up a studio in his own mansion, seen here at no. 900. Between 1885 and 1901, when the mansion was sold, Thallon Jr. presented more than 600 weekly morning concerts with the assistance of his students, family, and invited musicians. This private venue became an important center of musical life in Brooklyn. The concerts often featured the home's walnut-encased, custom-made pipe organ. The land what was once occupied by the Thallon Mansion is today the children’s playground inn Brower Park. While the house was lost, the organ that once delighted visitors had survived. It was purchased by the Methodist Church of Naugatuck, Connecticut, where it remains in use.

The Brooklyn Children's Museum was first opened in 1899 located in two Victorian mansions on Brooklyn Avenue. Founded through the Brooklyn Institute of Arts and Sciences, it was the first museum for children in the country and grew immensely popular. Eventually in 1975, the two mansions that housed the museum were demolished and its current building designed by architectural firm of Hardy Holzman & Pfeiffer Associates was constructed. Moreover, its 2008 renovation prompted another first: the first NYC LEED-certified Green museum. It continues to be one of the nation's premiere children's museum, boasting a permanent collection of more than 30,000 items.

Short, mid-block streets inserted into the existing street grid, usually called “places” for through streets and “courts” for dead-end streets, were constructed in Brooklyn beginning in the late 19th century. The construction of these mid-block streets allowed developers to fit more houses onto a smaller parcel and created private enclaves desirable for home buyers. These three feature picturesque rows of houses of varied heights, many of which are lower rise than the rest of Crown Heights North. Revere Place, the earliest of the three, features houses in the Romanesque Revival and Renaissance Revival styles, while the houses on Hampton Place and Virginia Place were designed in the Colonial Revival style, perhaps to evoke their street names. The novelist Richard Wright and his wife Ellen lived at 11 Revere Place in 1941-42, when the neighborhood began to shift to a majority African- and Caribbean-American population. Revere Place, Hampton Place and Virginia Place are all located within the Crown Heights North III Historic District.

(Henry M. Congdon & Son, 1907; additions: 1937) This Romanesque Revival style building was designed as the community center for a large church planned for the lot next door that was never built. The building included a basement gym, kitchen, auditorium and classrooms. Interestingly, the firm had recently designed the homes on the opposite side of Union Street (site 13), thus allowing for a certain continuity and design harmony on the block. Thirty years after designing the original structure, the architectural firm of Henry M. Congdon & Son returned in 1937 to permanently transform the building into a church, adding Gothic details with a new sanctuary, steeple, entrance and stairway. The corner structure benefits from being set back by grassy lawns from both Union Street and Brooklyn Avenue, lending it a pleasant stature in addition to its architectural charm.

825-833 St. Marks Avenue, 1925. This series of Renaissance Revival rowhouses was constructed circa 1884 and designed by George P. Chappell, who designed many rowhouses and mansions in Crown Heights.The corner building (no. 833), along with its three neighbors, have all had their stoops removed and entrances relocated to the basement level.

Brooklyn Children's Museum 145 Brooklyn Avenue Designed by Hardy Holzman Pfeiffer Associates 1977; expansion: Rafael Viñoly, 2008 Despite the Brooklyn Children’s Museum’s contemporary design, the institution itself is believed to be the oldest children’s museum in the country. It has been located on this site since 1899, when a mansion on this property – the William Newton Adams House – was converted into a children’s museum. It proved to be a huge hit, so at some point over the next two decades, the museum expanded into the L.C. Smith House next door. By 1967, the museum had outgrown both mansions and began planning for a new building on the site, which was completed in 1977. The current iteration of the Brooklyn Children’s Museum was mostly constructed in 2008, but its design is in fact an expansion of the 1977 structure, which was largely subterranean. The expansion, whose wavy design and primary color palette are in stark contrast to the character of the surrounding neighborhood, is clad in 8.1 million yellow ceramic tiles. The expansion roughly doubled the building’s size to 102,000 square feet.

Brooklyn Jewish Center, 1924. This synagogue and community center had its cornerstone laid in 1920 and was established to cater to the needs of Jewish life. The building when completed had a sanctuary, wedding ballroom, a day school, a swimming pool, and a health club. A kosher restaurant and a robust adult education program rounded out the center which was imagined as a single institution for educational, religious, social, and recreational activities. It has earned the descriptor of "a pool with a school and a shul." In the 1960s a the surrounding neighborhood was changing (white Jewish and Catholic populations were moving away, while African American and Chassidic Jewish communities were arriving) the building adapted to the transition. It became the home of the Educational Institute Oholei Torah, the flagship school of the Chabad-Lubavitch movement.

St. Gregory's R.C. Church and Convent, 1931. St. Gregory's church is an example of a basilican church inspired by early Christian architecture, and specifically modeled on two 5th century Roman churches. The church features a front portico (not visible in this photograph) and a seven story campanile (bell tower). Completed in 1916, the terra cotta-trimmed building was designed by Frank Helmle. Helmle, a prolific Brooklyn architect who mostly worked in Renaissance inspired styles in the early 20th century, designed banks, churches, and a number of landmark civic structures (such as the Boat House in Prospect Park) as the Superintendent of Public Buildings of Brooklyn. The structure seen in the foreground is the church's rectory (no. 224). Also designed by Helmle, with his then partner Harvey Corbett, in 1922, the building is a modest three-story neo-Classical structure.

Commercial High School, ca. 1928. The former Commercial High School is a classic H-shaped facility designed by the proponent of this layout and New York's most influential school builder, C.B.J. Snyder. Constructed sometime between 1898 and 1906, the Beaux-Arts school followed Synder's modus operandi: multi-level facility with courtyards that allowed for light and air in all rooms, large windows for the same purpose, all built around a strong steel skeleton. The school went through a number of names, reputations, and closings over the last 100 years. It was Commercial, then Alexander Hamilton Vocational HS, then Paul Robeson High School. It was closed again around 2006 and was re-opened in 2011 as Pathways in Technology Early College High School, technology-based public school with funding from IBM.

Former Shaari Zedek Synagogue 221 Kingston Avenue Designed by Eisendrath & Horowitz, 1923-25 Formed in 1902 and originally located in Bedford-Stuyvesant, the Shaari Zedek Synagogue relocated here after the congregation merged with the Brooklyn Synagogue of Eastern Parkway in 1922. The synagogue and community house were completed in 1925 to the designs of Eisendrath & Horowitz, who had also been responsible for Temple Beth Elohim in Park Slope, Temple Beth Emeth in Prospect Park South, and Temple B’nai Israel in Sunset Park. All of these, like Shaari Zedek, were designed in the Colonial Revival style, which was popular for American synagogues in the early 20th century. The limestone and light grey brick building features a grand entrance portico with Ionic columns, a triangular pediment, and an entablature that reads “Gates of Righteousness,” the English translation of “Shaari Zedek.” An impressive standing-seam metal, octagonal dome sits atop the structure. When it was completed, the synagogue bore the distinction of housing the city’s largest Conservative Jewish congregation. In 1969, the building was sold to the First Church of God in Christ of Brooklyn. The Former Shaari Zedek Synagogue is located in the Crown Heights North III Historic District.

(Church: Frank J. Helmle, 1915-16; School: Helmle & Corbett, 1921; Rectory: Helmle & Corbett, 1922) This magnificent church has a strong presence in the neighborhood due to its richly decorated, seven-story campanile. Frank J. Helmle, was a prominent Brooklyn architect who also designed the Prospect Park Boathouse (1905), the Shelter Pavilion in Monsignor McGolrick Park (1910), and the Brooklyn Central Office, Bureau of Fire Communications (1913). Harvey Wiley Corbett, with whom Helmle collaborated on the church’s school and rectory, is well-known for his work in developing designs for setback, streamlined skyscrapers. The design of St. Gregory is inspired by Rome’s oldest basilicas, the fifth-century San Clemente and Santa Maria in Trastevere. While its bell tower dominates the rear of the church, the front is graced with a portico entrance of Ionic columns topped by a setback story that features a wheel window and shell niches housing sculpted figures. The school and rectory are far simpler, designed in the neo-Classical style to complement the church