Saint Stephen’s Church ARCHITECT: James Renwick, Jr. DATE: 1853-54 STYLE: Romanesque Revival James Renwick used the Romanesque Revival style for St. Stephen’s, early use of this style and an unusual choice for a Catholic church at this time. The deeply-set round-arched openings, the corbel tables, and blind arcades create a lively façade on this densely developed street. St. Stephen’s Church was established at a time of great expansion by the Catholic Church due to the huge numbers of immigrants to New York from such heavily Catholic countries as Ireland and Germany.

Bramhall Playhouse,1915. On March 27, 1915, the New York Times reported on "Manhattan's Tiniest Theatre." The Playhouse was hosted in a former residence and later a church and was the brainchild of playwright and theatrical entrepreneur Butler Davenport. Davenport, who lived in an apartment above this theatre was fond of addressing his audiences each night by saying, "I’ve been tremendously rich in everything but money.” The theatre later became known as the Gramercy Arts Theatre which produced avant-garde productions in the 1960s. In 1968 Gilberto Zaldívar and René Buch formed Repertorio Español, "to produce excellent theatre in Spanish." In 1972 the troupe moved into the Gramercy Arts Theatre and remain here to this day presenting works directed, designed, and performed by Latino theatre artists from the U.S. and diverse Spanish-speaking nations.

Wealthy painter and philanthropist Ellen Dunlap Hopkins founded the New York School of Applied Design for Women in 1892. Its mission was to "afford \[...] women inspiration which may enable them to earn a livelihood by the employment of their taste and manual dexterity in the application of ornamental design to manufacture and the arts." This meant illustration, book cover design, interior design, wallpaper, and textile design and architecture. The school also helped the students and graduate sell their pieces. The school moved into a brand new building in 1909. Designed by Harvey Wiley Corbett, the five-story neo-Classical building was funded largely by J. P. Morgan and John D. Rockefeller. Despite its classical temple look and Greek details, a contemporary architecture journal derided it as "drastically modern." The New York Times' Christopher Gray was kinder if more expressive when he noted in a 2008 article that "the steeply sloping roof provides a pungent termination." Following a brief partnership with Columbia University between 1910 and 1912, the school continued as originally organized until 1944. A merger with the Phoenix Art Institute turned the school into a co-educational facility. A further merger in 1974 with Pratt. The now-named Pratt-New York Phoenix School of Design operated until the 1980s. Today the building, whose facade has not been seriously altered since its construction, is home to a high-end fashion showroom.

New York School of Applied Design for Women ARCHITECT: Harvey Wiley Corbett DATE: 1908-09 STYLE: Neo-Classical This building was built in neo-Classical institutional design, and it long housed the New York School of Applied Design for Women. It is a five-story building and stone neo-Classical institutional building. Harvey Wiley Corbett designed this building as a school of art, and it has been used exclusively for that purpose since its completion in 1909

34th Street, viewed from the exit of the Queens-Midtown Tunnel, ca. 1985. This is the view that greeted motorists entering Manhattan via the Queens-Midtown tunnel: the dilapidated remains of No. 214 East 34th Street, the former “Furniture Exhibition Building.” Today, a new building has replaced No. 214, but the 34th Street sign (upper right) remains.

The Bellevue Psychopathic Hospital, as it was called at the time, was built in 1931 by Charles B. Meyers in the Italian Renaissance style. The building is still standing alongside the East River on First Avenue between 29th and 30th Streets, occupying an entire city block. When constructed, it joined the growing Bellevue hospital complex, and was intended to match the existing buildings, which were designed by architects McKim, Mead & White – same color brick, embellished with granite base course, limestone and terra cotta trimmings. By then, McKim, Mead & White was barely active; Meyers had just designed the Tammany Hall building and was a favorite of then-Mayor Jimmy Walker.

The New York Association for the Blind, today known as the Lighthouse Guild, was founded to provide "Light through Work." The association, which still operates today, is dedicated to advocacy and vision rehabilitation for the blind. The foundation was established in 1903 by sisters Winifred and Edith Holt. It began at first as the "Lighthouse Free Ticket Bureau," which gave free concert tickets to blind children. The Holts were inspired by a similar project while visiting Italy. Looking to establish a program in their hometown, Winifred and Edith Holt started their own project. An article in the New York Times, dated January 13, 1907, wrote that: "When Misses Winifred and Edith Holt established a ticket bureau for the blind four years ago their sole thought was that they might relieve the somber lives of these sufferers," however, "it seemed that something more thoroughgoing should be attempted." Thus, the "Lighthouse Free Ticket Bureau" was transformed into the New York Association for the Blind, which offered education, vocational training, job placement, and recreation. The Association was modeled after a settlement house, which Winifred Holt was familiar with: she had been a regular volunteer at houses on the Bowery before dedicating her life to aiding the visually impaired. The Holt's charitable organization was formally incorporated as The New York Association for the Blind in 1906. In addition to founding the Association, Winifred also campaigned for the first census of blind residents in New York. The census counted over nine-thousand New York residents who were visually impaired. She also helped found the New York State Commission for the Blind and Visually Handicapped. In 1914, Holt was recognized for her ceaseless social welfare work and awarded a gold model by the National Institute of Social Sciences. Within the Association for the Blind, Winifred and Edith served as the secretary and recording secretary of the Association, respectively. The poet Richard Watson Gilder served as president with vice-president Helen Keller. The Association started, at first, in the Brownstone home of the Holts, at 44 East 78th Street. They employed teachers who were visually impaired and therefore had a greater understanding of what it meant to instruct those who were also blind. Edith and Winifred came to a quick understanding that many of those who were blind needed steady employment in addition to educational services. In response, they converted their family Brownstone into a space for women to work and opened a workshop for men at East 42nd Street. In these spaces, men and women produced sellable wares, such as brooms, brushes, furniture, and mats, all of which would be sold on their behalf. According to the Times, "the home of the Misses Holt is a hive of workers engaged in advancing the interests of the blind in many ways." Additionally, adults were trained in the realm of clerical, sales, and business work. The program grew so quickly that an expansion known as the Bourne Workshop was opened at East 35th Street in 1912. While providing employment, training, and education for adults, the New York Association for the Blind also took care of children. Various outdoor summer camps for children were opened around the state. Winifred also lobbied the New York Department of Education to allow visually impaired children to be admitted into public schools for the first time. With the onset of World War I, and, seeing the success of the program in New York City, Winifred Holt worked to expand the Association onto the world's stage. Le Phare de Bordeaux was opened in France in 1915, as were offices, or "Lighthouses," in Paris, Rome, Warsaw, China, Japan, the Middle East, India, and South America, thus making the Association an international foundation. The New York Association for the Blind took on the name Lighthouse Incorporated in 1989 and was later re-named Lighthouse International. In 2005, the Guild celebrated its 100th anniversary. The offices of the Lighthouse Guild are now located at 250 West 64th Street.

Supergraphic on the facade of architect James R. Doman’s East 25th Street firm, ca. 1972. Doman’s offices are described in an October, 1972 Life Magazine feature on supergraphic painting: “The blueprint on the facade, painted by two of the firm’s architects in four days, is a replica of the plan the firm used in renovating the building."

Cornell University Medical College, ca. 1900. During the late 19th century, Cornell University sought to establish a medical college in New York City, but by the late 1890s had seen multiple attempts fail, including a proposed scheme to affiliate with New York University. In April 1898, Cornell University Medical College was established, with faculty who had left NYU following a dispute. Standard Oil Trustee Oliver Hazard Payne funded the construction of a new facility for the fledgling college, across First Avenue from Bellevue Hospital. Stanford White’s Neoclassical hospital occupied the full block between 27th and 28th Streets, with two Corinthian-columned entrances on First Avenue. Today, the capitals of four of those columns are preserved in the courtyard garden of the Bellevue Men’s Shelter. The teaching hospital was operated by Cornell until 1932. Between 1933-1955, it was operated by NYU. The building was ultimately leveled during the 1960s, as part of the Bellevue South Urban Renewal project.

Wood-frame farm house and carriage house, East 29th Street, ca. 1965. The history of this odd, sideways-oriented farmhouse is subject to speculation among researchers and preservationists among who there are two major theories: first, the house dates to the 18th century and may have been moved from its original location; or this house built on this site after the Commissioners’ Plan of 1811 laid out the street grid, as late as 1840. In a 2006 “Streetscapes” column, the New York Times’ Christopher Gray examines the first theory: the house was built during the 18th century, on the grounds of John Watts’ Rose Hill Estate. When the Commissioners’ Plan was adopted, the lots on 29th Street included a small, peculiar parcel at No. 203. Gray suggests a hypothesis: the small lot was set aside, “perhaps to receive an outbuilding relocated from the Rose Hill estate because it lay in the path of new roadways?” Tax and property records make the picture even murkier: 1830 records note a building, but don’t describe it; 1840 documents refer to a three-story structure; and the 1880 tax inventory definitively refers to the four-story structure standing today. It’s possible that these records all describe the same building — but just as likely that they don’t. And then come the experts. Gray’s column references the assessment of Alan Burnham, a former executive director of the Landmarks Preservation Commission. Burnham initially believed the gambrel roof indicated an old farmhouse of Dutch construction, but eventually dated the building at ca. 1845. However, a preservation consultant hired by the building’s 1980s owners dates the house’s frame elements to 1790. While its early history may be uncertain, recent events are relatively clear. By 1900, the house had been subdivided into apartments. For many years, it was a junk shop, likely with residences upstairs, and was later abandoned and boarded up. The house was purchased in 1979 for $80,000, gutted, and converted to single-floor apartments with a faithful exterior restoration.

PRESIDENT CHESTER A. ARTHUR HOUSE, MANHATTAN Address: 123 Lexington Avenue Built: c.1860s 123 Lexington Avenue is the former residence of President Chester A. Arthur and his wife, Ellen. Arthur served a short term as Vice President of the United States, and became president after taking the Oath of Office in this house in 1881 after President Garfield was assassinated. Arthur left Lexington Avenue during his presidency in Washington, and returned after his term and lived in the house until he died there in 1886. The entire block of once-elegant brownstone townhomes remains along this stretch of Lexington. All of the buildings have converted storefronts, speaking to the evolution of Lexington Avenue from upper-class residential to a commercial corridor. The President Chester A. Arthur house was originally one of nine similarly designed five storied structures completed in 1855 on the east side of Lexington Avenue between 28th and 29th Streets. Today, only their upper three floors are the same, the first and second having been altered to such an extent, that the row house architectural character of the group has been all but destroyed. The Arthur house and adjacent number 121 remain the least altered, particularly number 121 which still retains its outside steps and trim iron railings leading from the sidewalk level to the second, or parlor floor. The high entrance doors and transom at the second floor, of greater height than the others, is framed by a wide molded stone band, segmental head, and a horizontal series of moldings above supported on a row of brackets. Although extremely simple, the proportions of the whole register dignity and scale. On the Arthur house, no doubt originally a facsimile of Number 121 the doorway motive has been altered to provide a street level entrance leaving only the segmental head and cornice with the frame terminating at the second floor level. The upper floors each have three segmental headed double hung windows with molded stone sills and cap molded lintels. A metal cornice on brackets, typical of so many brownstone fronts, crowns each building at the roof level. The buildings, of native brownstone color originally, are now painted white. It was in this house on September 20, 1882, that Chester Arthur took the oath of office President of the United States following the assassination of President Garfield. The house had been purchased by his wife Ellen Herndon Arthur in 1858 and remained their home when he left office in March 1885 until his death the following year. The report that William Randolph Hearst who occupied Number 119, the southern corner building of this historically distinguished row of houses, bought the Arthur house later for his own residential use has been disproved.

27th Street at N. E. corner of Lexington Avenue, ca. 1931. In the 1930s, this storefront was home to the Armenian bookstore of H. Mamasian.

Bellevue Psychiatric Hospital, ca. 1978. New York’s most infamous hospital, the Renaissance Revival Bellevue Psychiatric Ward was built in 1931 to treat a broad swath of the city’s often-indigent mentally ill population. Prominent inpatients included Norman Mailer, Edie Sedgwick, and Mark David Chapman (John Lennon’s Assassin). The Bellevue Psychiatric Ward closed in 1984. Today, the facility is partially occupied by a men’s shelter.

Lexington Avenue at 33rd Street, ca. 1975. The building at right is No. 141 East 33rd Street. The Chrysler Building is visible through the haze, further up Lexington Avenue.

The names of Andrew Carnegie and Henry Clay Frick are well known in New York City and beyond for Carnegie Hall and for the Frick Collection. Though the institutions built by these two steel magnates are important to the city’s cultural identity, the organization built by their lesser known (but just as wealthy) associate, Henry Phipps, has had and continues to have, a more material effect on the lives of New Yorkers. His legacy, Phipps Houses, is the oldest non-profit developer of affordable housing, erecting its first buildings in 1906 and actively developing and managing properties today.

Phipps Houses, ca. 1905. In the early part of the twentieth century, the entire block span between First and Second Avenues on East 31st Street was the site of the Phipps Houses. Completed in 1906 and designed by Grosvenor Atterbury, the building was commissioned by steel magnate Henry Phipps. Also a philanthropist, the building was Phipps' first attempt to curb the rising tuberculosis epidemic in the city by improving living conditions for paying tenement tenants. Home to 142 apartments, each unit at the Phipps Houses included two to five rooms, individual bathrooms, and a finished courtyard. Although rent was $14 monthly, which was $4 more expensive than usual tenement rent at the time, the building was designed to maximize the wellbeing of those who would live there. An early brochure said: "This enterprise is not a charity. Tenants are not asked to accept anything free. All that they pay for in their rent they will receive." Atterbury's design for the Phipps Houses was the first of its kind in the city. The complex was grand and constructed with varied brickwork to maximize airflow. Unlike other tenement buildings, Phipps also designated the bottom floor of his development as space for tenants to receive social services and counsel.

Buildings on East 32nd Street. At far right (No. 207) is the former Tammany Central Association, ca. 1965. In 1901, the Tammany Central Association, at the time an influential faction of the political machine, broke ground on this ostentatious Beaux-Arts clubhouse. However, internecine conflicts soon saw the district’s patron, Richard Croker, out of power. The clubhouse was completed all the same, but reform efforts and the financial strain of upkeep saw the facility rented out a soon as 1911. Later tenants included the City of New York, itself. In 1965, the old Tammany clubhouse became the headquarters of New York Magazine, when Milton Glaser, New York’s founder, purchased the building. When the magazine moved to new offices in 1974, Glaser remained; he maintains his studio there to this day. The buildings at left have since been demolished.

Kips Bay Towers, 1966. The two towers of the Kips Bay Plaza Apartments were completed between 1960 and 1963. Designed by I.M. Pei and S. J. Kessler, the Brutalist style complex was erected on what had been the first Phipps Houses, a series of tenements created as working class housing just after the turn of the century. The two towers are massive 21-stories of glass and raw concrete facades. They were conceived as a middle-income rental project, but just 20 years later were converted to condominium apartments over the objections of a substantial number of residents.

"A town isn't a town without a bookstore," -Neil Gaiman 📚📚📚

Adams Memorial Church, 1942. Architect J.Cleaveland Cady designed this church with the double spires as the Adams-Parkhurst Memorial Presbyterian Church. It was a mission church of the Madison Square Presbyterian Church, just a few blocks away. Dedicated in 1875 over the next decades it was home not only the Adams-Parkhurst church but also a German Lutheran congregation and an Armenian Evangelical Church. Left empty and abandoned after a stint as a radio station, the church became the CBS 30th Street Studio from 1948 to 1981. The Columbia Records studio was the location of thousands of recordings, including Miles Davis' Kind of Blue (1959), Leonard Bernstein's West Side Story (Original Broadway Cast recording, 1957), and Pink Floyd's The Wall (1979). It was aptly nicknamed "the Church." Columbia Records moved out in 1981, and after changing hands a few times, the building was razed and replaced with a 10-story apartment building called "The Wilshire," completed in 1985.

The Civic Club ARCHITECT: Thomas A. Gray DATE: 1898-99 STYLE: French Beaux-Art The elegant building of the Civic Club, now known as Estonian House, was designed in the French Beaux-Arts style by Thomas A. Gray. Erected in 1898-99, the Civic Club building was commissioned by Frederick Norton Goddard (1861-1905), the founder of the club and a leading social reformer in the city.