Shelton Hotel ARCHITECT: Arthur Loomis Harmon DATE: 1924 STYLE: Lombard Revival, Hotel Even while it was under construction the Shelton Hotel was recognized as the first successful embodiment of the massing requirements of the 1916 Zoning Law, notable for its soaring expression of height, powerful simple massing, striking silhouette, and exceptional handling of materials and details. The 31-story-plus-penthouse building is designed in the Lombard Revival style incorporating Medieval and Renaissance details. Above a beautifully detailed limestone base, its facades are clad with multi-hued greyish-brown brick and terra cotta. There are three setbacks, stepping up to a central tower, and a picturesque hipped-roofed penthouse.

William Lescaze House and Office ARCHITECT: William Lescaze DATE: 1933-34 STYLE: Modern The Lescaze House of 1933-34, designed by William Lescaze for his own use as a combined residence and architectural office, is an embodiment of the theory and practice of one of the most influential exponents of modern architecture in the United States. The sudden appearance on East 48th Street of this startlingly “modern” facade of 1934 set between deteriorating brownstones of the post-Civil War period, had a dramatic impact upon the streetscape and the neighborhood.

Photographs were an excellent way for the Forward to telegraph its interests to its readers, signifying support of thought leaders, political candidates, policies favoring working people and a modern and equitable society. The images gathered here testify to the ideals and the newsgathering concerns of the paper and its readers, their support of reform-minded Democrats and of a Labor Zionist body politic in Israel that aligned with their socialist ideals.

In the mid-summer of 1863, tensions in New York had reached a boiling point. To replenish the Union Army after devastating casualties, Congress had passed the enrollment act, enacting the first draft. In New York, many of the newly arrived immigrants had been pushed by Tammany Hall and other political machines to become citizens, which made them eligible for this new draft. These newly minted citizens became incensed by the prospect of being drafted, and the anger quickly grew. The drawing of the draft numbers was a spark that drove the city into what would become the worst race riot of its history. Days later, anywhere from a hundred and twenty to more than a thousand were killed, thousands more injured, and with many prominent African-American and Abolitionist buildings destroyed.

"First Avenue, north west corner of East 51st Street showing P.S. 135, 1920." Though most of the still standing ornate public school buildings in the five boroughs were designed by C.B.J. Snyder, BOE Superintendent of Buildings from 1891 to 1923, a few remain from an early time. Public School 35 (later no. 135) was the final structure designed by Snyder's predecessor George W. Debevoise. Built on the land of the once James Beekman mansion (built 1763), the Romanesque Revival building of brick and brownstone, with large window openings, was to house 1354 students. The school missed the opening of the 1892 school year and its next two planned opening dates in November and March 1893. After a fire in February 1893 and more than $15,000 in damage, the school finally opened in May. In 1897 the school became P.S 135 and the Assembly Hall was used for twice-weekly free lectures for adults. Later in its life, the school would become known for its dancing-as-gym program, open air classrooms during the tuberculosis scare of 1910s, and a fully-equipped school unit for children with cerebral palsy in the 1940s.

Beaux-Arts Apartments ARCHITECT: Kenneth M. Murchison; Raymond M. Hood; Raymond Hood, Godley & Fouilhoux DATE: 1929-30 STYLE: Beaux-Arts Designed by Raymond Hood, among the most prominent American architects of the twentieth century, and built-in 1929-30, The Beaux-Arts Apartments is one of the earliest examples in New York City to reflect the trend toward a horizontal emphasis in the aesthetic of modern European architecture of the 1920s. Conceived as a corollary to the neighboring Beaux-Arts Institute of Design (a designated New York City Landmark), the Beaux-Arts Apartments at 310 East 44th Street and its twin building on the opposite side of the street were intended to provide residential and studio accommodations for architects and artists, as well as others interested in living in what was anticipated as a midtown artistic community.

Daily News Building ca. 1935 Acclaimed for its verticality, this building was considered by many as the embodiment of the soaring quality of the skyscraper. However, the vertical ribbons of equal width fail to express the location of the steel columns; and, as seen from within, the fenestration- a series of solids and voids- represent no improvement over that of the eighteenth century

Lexington Avenue at East 47th Street, east of the Grand Central rail yards, August 25, 1914. The building at left, with smokestacks, was the station's steam powerhouse until 1929, when it was demolished in favor of electric power. After the Waldorf-Astoria was completed in 1931, across 49th Street, certain of the hotel's most prominent guests made use of a private train platform originally built for service cars calling at the powerhouse.

It's not easy being the Soviet envoy to the United Nations in 1953.

Panhellenic Tower ARCHITECT: John Mead Howells DATE: 1927-30 STYLE: Gothic-inspired, Art Deco Erected in 1927-29 as a residence and clubhouse for women belonging to national Greek-letter college sororities, the Panhellenic Tower provided affordable housing for young college-educated women who were entering the workforce in record numbers in the 1920s. The tower is renowned for its dramatic volumetric massing and bold vertical striping created by deeply recessed window-and-spandrel bays set between narrow piers which rise unbroken from a two-story base to a parapet crown. Though sparsely decorated, the building incorporates handsome Gothic-inspired Art Deco ornament by the leading architectural sculptor Rene Chambellan.

Hotel Shelton, 1924. The Shelton Hotel was the brainchild of James T. Lee (grandfather of Jackie Kennedy). He wanted to build a massive bachelor hotel. And massive it was. When completed in 1923, the structure, designed by Arthur Loomis Harmon, had 1200 rooms. Designed in a Romanesque Revival style, the building was considered the first major successful example to adhere to the massing requirements of the 1916 Zoning Law. The three setbacks culminate in a central tower. The building became a model for other skyscrapers and its architect would go to design the Empire State Building a few years later. Originally opened as a men's only residence, the building began admitting women and families soon after it opened. Georgia O’Keeffe and photographer Alfred Stieglitz lived on the 30th floor from 1935 until 1937. And in 1926 Houdini had himself locked in a box and submerged in the basement swimming pool, eventually emerging unharmed. Today the building is the New York Marriott East Side.

Conceived at the Dumbarton Oaks Conference in 1944, the United Nations was the brainchild of the Allies as a structure for the world to govern together. But how did it come to Midtown?

Ford Foundation Building ARCHITECT: Eero Saarinen Associates; Kevin Roche John Dinkeloo Associates DATE: 1963-67 STYLE: Modern The Ford Foundation and its architects, through this new building, offered New York an alternative model for a modern office building, creating an elegant, transparent glass cube enclosing a twelve-story high, lush, indoor landscaped atrium visible from outside. The architects, in an approach unusual for modern movement buildings in the 1960s, carefully considered the context in planning the building’s design, relating the interior atrium and its garden to the small parks of Tudor City directly to the east.

United Nations Building, 1956. Not technically in New York City, but in international territory owned by the United Nations, the headquarters of the UN consists of four main buildings. The two buildings seen in this photograph taken a few years after the structures were completed, are the Secretariat Building (the tall one) and the General Assembly Building (the low rise sloping building). The Secretariat Building is 39 stories above ground and three stories below and was completed in 1952. It was designed by Brazilian architect Oscar Niemeyer and the Swiss-French architect Le Corbusier, as part of a larger board of architects. The long exterior facings of the building are made of aluminum, glass, and marble. This International Style building was the first skyscraper in the city to feature a glass curtain wall. The low rise building is the General Assembly Building and it is 380 feet long and 160 feet wide with concave sides and a shallow dome on top. The minimal ornamentation, curving facade, and wide open interiors exemplify the International Style. The building, which was created by a Board of Design Consultants from all over the world, headed by the American Wallace K. Harrison, houses the large hall where the delegates to the UN meet.

The Vanderbilt YMCA, ca. 1937. Opened in 1932 and designed by Warren and Wetmore, this Young Men's Christian Association building was originally called the "Railroad YMCA" because of its housing program for railroad workers. In 1972, it was renamed the Vanderbilt YMCA, to recognize Cornelius Vanderbilt, the railroad tycoon.

This synagogue building (seen at center at 221-223 East 51 Street) began its life as the Good Will Chapel, a Presbyterian mission of the nearby Madison Avenue Church, sometime in the late 19th century. The building was then purchased by Congregation Orach Chaim, a Orthodox congregation, in 1898. The congregation occupied the ornate building for only eight years before moving uptown to an even more elaborate structure. In 1906 the building was purchased by Congregation Beth Hamedrash Hachodosh Talmud Torah, an Orthodox synagogue established in 1901. By the mid 1950s the congregation had became a conservative synagogue known as the East 51st Street Synagogue. In the 1960s and 1970s many changes came to the building and the nearby streetscape. The congregation purchased the land at nos. 225 and 227 and constructed a new building, while also selling the parcel at no. 221 to the Rockefeller family. No. 221, along with two properties to the west, became Greenacre Park, a “vest pocket park,” with a 25 foot waterfall next door to the new Sutton Place Synagogue.

Turtle Bay Gardens, 1937. Purchased by socialite Charlotte Hunnewell Martin in 1918, the eleven 1860s-built townhouses on the south side of 49th Street and nine on the north side of 48th Street underwent two years of renovation. The extensive work included the creation of a communal garden space at the center of the block. The individual backyards are separated only with low brick walls, while a broad esplanade at the center is shared by all. When the work was complete on the homes, Martin did the unexpected; she sold the homes at cost (to her friends). Residents of the homes have included Katharine Hepburn, Tyrone Power, Stephen Sondheim, and E. B. White.

Loew's Lexington Theatre, 1925. This structure was originally called the Lexington Opera House and was opened by Oscar Hammerstein I in 1914. Due to a negotiation with the Metropolitan Opera which disallowed Hammerstein from staging opera, the so-called "opera house" opened with a program of vaudeville acts and films. Hammerstein sold the theater to Marcus Loew, who utilized it as one of his circuit's most popular venues. Leow's Lexington Theatre was kept in pristine condition, and the Beaux Arts design was hardly altered until its demolition in 1961. The theatre sat 2,500 and had 40 boxes. It was razed to make room for another of Loew's ventures, the Loew's Summit Hotel

The Daily News, New York's first tabloid paper, was founded in 1919 and was immediately immensely successful; its circulation was 1.4 million, the largest in the nation, just a decade later. Its owner, Captain Joseph Medill Pederson, bought an inexpensive, mid-block property on East 42nd Street between Third and Second Avenues (the elevated train lines on these avenues made the area unappealing to most developers); he envisioned a small headquarters with editorial offices and, more importantly, a printing press, that would capitalize on easy distribution to Times Square and the rest of the city. His architect, Raymond Hood, saw that a tall rental tower would bring his client added income and create an identity for the paper. Pederson reluctantly agreed and the 476-foot tall tower pictured soon came into being. The building is actually L-shaped. A long, 10-story front along 41st Street (right) houses the printing press and loading areas; the 39-story tower (left) rises within the 90-foot wide length between 41st and 42nd Street. A deal with the city regarding the school along Third Avenue meant the building had three-and-a-half entirely unobstructed sides, uncommon for a mid-block tower. Yet it is the exterior articulation of the building that was most remarkable. Vertical piers of white brick alternate with uniform bands of recessed windows with rougher red and black brick spandrels in between. Even the crown of the building, where a false front hides the water towers, continues this pattern. Derived entirely from the needs of the uniform office spaces within, "the exterior more or less created itself," explained Hood. The stripped verticality is one of the purest expressions of "form follows function" of its period. The transmission tower for WPIX TV rises another 275 feet on top of the building (WPIX was owned and operated by the Daily News, "New York's Picture Newspaper," from the late 1940s until 1991 when the paper was sold to Rupert Murdoch). In 1958, an addition was added to the 42nd Street and 2nd Avenue corner (Harrison & Abramovitz) that repeats the exterior articulation of the tower with wider windows.

Ford Foundation Building, ca. 1979. Designed by the architecture firm of Kevin Roche John Dinkeloo and Associates (both former principles at Eero Saarinen and Associates), this International style building was completed in 1968. The building was constructed for and continues to house the Ford Foundation. Some of the modern features of the building include load-bearing concrete and weathered steel as the materials, which are highly visible, as well as simple, unadorned facade. The most striking feature of the design is the interior garden within a greenhouse-like atrium. Visible through the glass facade, the large open space and lush vegetation were designed to create transparency and an interactive experience for the building's occupants and visitors.

Daily News Building ca. 1935 Founded in 1919, the New York Daily News was America’s first tabloid and soon became its best-selling newspaper. The Daily News Building, designed by Raymond Hood in 1930, combined the paper’s nine-story plant with a 36-story rental office tower. Hood gave the News a signature building, whose white-and-black striped brick facade was audaciously stark. From the vantage point of the Chanin Building, a new office tower at East 42nd Street and Lexington Avenue, Abbott captured the bold presence of the building, set against the lowly tenements of Kips Bay, with Tudor City and a Consolidated Edison power plant in the background. In 1931, Abbott took a similar photograph of the building; she may have returned to the site in 1935 to replace a lost or damaged negative. On her second visit, she was unable to gain access to the Chanin Building roof and was forced to photograph from a lower floor. As a result, the perspective is skewed, and the building appears to lean to the left. Today Abbott’s view is obstructed by the Mobil Building (1955). In 1994, the Daily News moved its editorial offices to the West Side and its plant to New Jersey.

312 East 53rd Street CLIENT: R. V. J. Cunningham ARCHITECT: Robert & James Cunningham DATE: 1866 STYLE: French Second Empire This attractive little wood house, one of a pair, was built for R. V. J. Cunningham in 1866. Simple as it is, it nonetheless reflects faithfully the post-Civil War architecture so much influenced by French Second Empire models. Here are the Mansard roof and the carefully framed windows and front door, all displaying cornices carried on brackets. The arrangement of the windows is somewhat unusual as the two long ones at the left of the door follow an asymmetrical pattern, while the two above are symmetrically placed with reference to the center of the building, as are the two dormers above them. They are all the double-hung type with the broad central muntin intended to simulate casement windows. This was characteristic of our desire to look French while retaining the practicality of double hung windows.

Rosario Candela played a major role in shaping the architectural legacy of 20th-century Manhattan: the distinctive "prewar apartment buildings that define the cityscapes of streets like Park and Fifth Avenues and Sutton Place." Even today, almost a century after they were built, Candela's buildings rank among the most prized in the city.

The United Nations Headquarters was one of the first significant construction projects undertaken in Manhattan after the Second World War. In order to bring the UN to Manhattan, John D. Rockefeller Jr. donated the site, which he bought for 8.5 million dollars from developer William Zeckendorf, who had already assembled the former abattoir properties between First Avenue and the river piecemeal. Designed by a committee of international architects, including Le Corbusier, Oscar Niemeyer and Sven Markelius, the United Nations Headquarters was also the first group of glass and concrete International Style buildings in Manhattan. The Secretariat, 544 feet tall and only 72 feet thick, was primarily designed by Le Corbusier but carried out by Wallace K. Harrison, the chairman of the committee; its long sides are almost entirely green glass, while its widths are concrete. The Conference Building is under construction on a platform extending out over the FDR Drive, below right. This 400-foot long, 5-story tall building was completed in February, 1952.

48th Street west across Third Avenue. The Shelton Hotel is the tall building at center, February 1, 1938.

East 41st through 42nd Streets. Tudor city, playground and pool for children.

209-211 East 48th Street, February 1, 1938. This 1934 townhouse (seen at the right) is considered the first modernist residence in New York City. Called the William Lescaze House for the architect who designed and lived in the home, the house employed the newest available technology, materials, and methods of construction.With his partner George Howe, Lescaze pioneered modernism in America, building the first International style skyscraper in the U.S. in Philadelphia in 1930. The concrete and glass home was designed to be beautiful, economical, and efficient, as per Lescaze's opinion on the merits of modernism. The structure was not an entirely new building, but the massive gut renovation, exterior redo and addition to a pre-Civil War brownstone. This house was the first recorded structure in the city to use glass blocks, an architectural feature now common in vernacular architecture.

Intersection of East 46th Street and Lexington Avenue, March 2, 1917. The building seen at left is the Grand Central Palace. Designed by the team of associated architects that created Grand Central Terminal (Warren and Wetmore and Reed and Stem) the Palace was an 13-story exhibition hall completed in 1911. It replaced the the 1893 Grand Central Palace which at Lexington Avenue between 43rd and 44th Streets had to be demolished for the new train station. The 1911 Beaux-Arts building hosted large-scale events and exhibitions, including auto, boat, flower, and trade shows on its lower three floors. In 1911 the First Industrial Aeroplane Show, the first time most New Yorkers had ever seen a plane, was presented at the Palace. It was also the home of the Westminster Dog Show for many years. The upper floors were leased as offices. The final exhibitions were installed in 1953 and a decade later the building was demolished, two years before the Landmarks Law was passed. The replacing building was the 44-story 245 Park Avenue.

View north along the east side of Lexington Avenue toward 49th Street, October 20, 1915.

Alma Gluck-Zimbalist Residence, 1927. With the carved stone violin and singing angel that sits above the entrance, this double lot home is marked as the residence of musicians. Constructed in 1926 the Tudor style house was home to Efrem Zimbalist, a famous violinist, and his equally famous opera singer wife, Alma. The house served as the NYPD 17th Precinct station house for a time in the 1950s before being divided into rental apartments.

"More than 150 localities around the country expressed an interest in hosting the UN, and many of them lobbied hard to attract the organization. They mounted extensive promotional campaigns, from big cities, like Chicago and San Francisco… to rural areas, such as the Black Hills region of South Dakota and the Smoky Mountain range in the Appalachians. New York City, then led by the popular Mayor Fiorello La Guardia, wasn’t one of them. Not because the mayor didn’t want the UN to come to New York. He did. But La Guardia — ever proud of his city — said at the time, 'I think it is unbecoming for a city to peddle itself… I am not going to put my city in the position of bidding for the UN the same as a small-sized city would bid for a national political convention or for the Elks convention or something like that.'" Read more of this exclusive interview by The Gotham Center for New York City with Pamela Hanlon, author of A Worldly Affair: New York, The United Nations, and the Story Behind their Unlikely Bond.

Beaux Arts Institute of Design ARCHITECT: Frederic C. Hirons; Dennison & Hirons DATE: 1928 STYLE: Beaux-Arts Founded in 1893 by American architects who had studied at the prestigious Parisian Ecole des Beaux-Arts, the Society of Beaux-Arts Architects had a profound impact on architectural practice in this country by its dedication to fostering the principles established by the Ecole. The Beaux-Arts Institute of Design, chartered in 1916 to accommodate the expanding educational programs of the Society, served as the national headquarters for architectural instruction based on the curriculum of the Ecole and influenced several generations of American architects.

In the 1920s, the growing obsolescence, squalid conditions, and rising vacancies in old-law tenements near booming business district provoked developers to dream of lucrative, high-density private construction. Businessman Fred French believed slum clearance was the key to making central city life appealing to the middle-class. Successful redevelopment – what he called “scientific rebuilding” – would require wholesale demolition to change the entire atmosphere of a neighborhood so it could compete with suburban life. Underwritten by an investment plan that sold small-denomination stocks that promised solid returns to investors, French quietly assembled hundreds of tenement properties in Midtown’s east side for his Tudor City project. Clearing for the large hilly site began construction in 1926, and French quickly constructed twelve towers ranging from 10 to 32 stories. The high land coverage and population density were mitigated by the ample open space in adjacent private parks and the quality of the heavily ornamented neo-Tudor buildings. French marketed Tudor City as an amenity-rich alternative for white-collar workers who wanted to “walk to work” rather than endure hours of rail or subway commuting. Designed for the “average salary earner” and his family, the small but luxuriously finished units were complemented by common facilities and overseen by careful community controls.

The 42nd Street entrance to the Daily News Building, ca. 1985.

337 East 41st Street, April 7, 1946. The block of East 41st Street between First and Second Avenues was developed over few years in the early 1870s by two real estate developers. All of the homes were Italianate in style. This house at no. 337 was one of 19 residences developed by S. S. Stevens and designed by the up-and-coming firm of Hubert & Pirsson. Three stories tall and faced in brownstone, the structures were planned as middle class, single family homes. No. 337 would alternate between a single family and multi-family residence for much of its history. By the 1920s most of rowhouses on this block and the surrounding streets had been purchased and replaced with new apartment buildings and housing projects. Today no. 337 is once again a single family home and the lone survivor of its original streetscape.

During the Suez Crisis, which concerned control of the Suez Canal, Golda Meir led the Israeli delegation. Mrs. Roosevelt affirmed her support for Israel in her newspaper column, “My Day,” and called Meir “a woman one cannot help but deeply respect and love.” Golda Meir went on to be elected Prime Minister of Israel in 1969.

Summit Hotel, undated postcard. The Summit Hotel (completed 1961) was the first major New York project for architect Morris Lapidus. Known for his oversized and somewhat garish Miami hotels (the Fontainebleau Hotel, particularly), Lapidus introduced a new type of building geometry to the staid rectangular forms of midtown. The 51st Street frontage is rendered as a subtle curve, with a uniform facade pattern of windows tucked between protruding white-brick masonry. Architectural critic Ada Louise Huxtable said of the hotel: ''The Summit is a glittering display of gaudy confusion...\[m]osaics, marbles, woods, enamels, fabrics, synthetics, colors and crafts have been poured forth and combined with profligate abandon and aggressive insensitivity.'' Others have described it as jolly and welcome surprise among the city's grid. The architect himself noted many years after its completion that it was the "most hated" hotel in the city. But despite its scorn, it can be credited with—if not directly inspiring other eclectic building— at least laying the foundation for later experiments in architectural geometry. The hotel has changed hands a number of times in the last few decades and has had extensive alterations. Today it is the DoubleTree by Hilton Hotel Metropolitan. While many of the more ostentatious features have been removed or toned down, the groovy eight-story sign on the Lexington Avenue facade, which now spells out Doubleday on its oval protrusions, remains.

"First Ave., west side, south from East 52nd Street. Shown at the N.W. corner of East 51st Street, is P.S. No. 135, 1928." In 1960 the nearby P.S 53 opened and most of the students were moved into that school. For a decade and a half the massive school only housed the cerebral palsy unit, then the small UN International School and later a private school. In the late 1970s the school was sold to a developer who planned to demolish the building. The neighborhood reacted harshly and enacted a "Coalition to Save 931." The preservation efforts paid off as the building was listed on the National Register and the Board of Estimates confirmed the desire for preservation. The city put the building up for auction in 1983 with the caveat that the facade remain intact. More than a decade passed before appropriate plans were developed. Between 1996 and 2004 a proposal was agreed on, and construction commenced on a luxury high-rise apartment building which incorporated the exterior walls of P.S. 135.

The UK born, Cambridge educated, Israeli diplomat Abba Aubrey Solomon Eban was one of those diplomatic rock stars whose show stopping oratory seemed to articulate an entire era. For at least one week in 1953, along with the local milk driver's strike, he was in the Forward's headlines nearly daily.

The Campanile (far left), 1932. The Campanile is a luxury co-op building that was completed in 1927. Designed by Van Wart & Wein, the 14-story building sits on a bluff at the end of a dead-end street. The Campanile is oriented toward the East River with balconies and bay windows on its eastern facade and once included a private entrance to the boat landing for the Mayfair Yacht Club. Famous tenants of 16 apartments included Greta Garbo, actor Rex Harrison, and members of the Heinz and Rothschild families. Alexander Woollcott, critic, member of the Alquonquin Roundtable and good friend to Dorothy Parker, lived here in the 1930s. Other members of the Roundtable visited and given its peculiar location considered naming the home, "The-Little-Apartment -on-the-East-River-That- It-Is-Difficult-to-Find-a-Taxi-cab-Near." Parker decided instead to call it "Wit's End."

231 East 47th Street, later the site of Andy Warhol's first "Factory," September 23, 1947. In 1963, as his Pop Art works began to gain traction, Andy Warhol rented a large studio space on 47th Street for an annual rent of $100. Sometimes described as the "Silver Factory" for its tin foil and paint decor, Warhol's fourth floor loft became a fashionable performance space, production studio, and party venue for the artist and his acolytes, known as the Warhol superstars. The Factory moved to a new downtown space in 1968, with the "Silver Factory" building slated for demolition.

Morris Sanders Studio and Apartment, April 26, 1940. Though not the first Modernist house in New York City (that honor belongs to the Lescaze House), the Morris Sanders Studio and Apartment is considered the second residence in the city to adapt the aesthetic principles pioneered by Le Corbusier and the European modernists. Designed by architect Sanders between 1934 and 1935, for his own use, the home certainly was eye-catching on a block of 19th century rowhouses. Unlike the Lescaze House, which altered an existing structure, this five and half story home was a completely new building. Lacking in ornamentation, with the upper floors looming over the set back ground level, and clad in glossy blue tile and glass blocks, the home was (perhaps surprisingly) well received. The Architectural League of New York City awarded it their highest prize in 1935 for domestic architecture and national and international architecture publications lauded it. The Architectural Forum wrote of how it rose “abruptly from a stodgy row of brown-faced houses, interrupting with brutal finality the orderly sequence of uniform facades." (They meant it as a compliment!)

Subway construction at East 46th Street and Lexington Avenue, September 14, 1917.