"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.

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.

The Works Progress Administration's Federal Art Project (WPA/FAP), part of President Franklin D. Roosevelt's New Deal to stimulate the economy and create jobs during the Great Depression, employed thousands of artists between 1935 and 1943 to create artworks for public spaces. This groundbreaking democratic experiment celebrated and supported American art and artists by providing a source of income, enhancing public buildings, and enriching the lives of Americans in the throes of the Great Depression. The Art Commission reviewed hundreds of Federal Art Project commissions during this period, including murals, sculpture and mosaics. A significant portion of the WPA/FAP commissions in our collection were installed in public health and hospital facilities. There is a noticeable shift in theme and tone depending on the location of murals. Murals in children's wards often focused on nursery rhymes and fanciful themes, while those in nurses' recreation rooms were "relaxing" and focused on familial scenes. Murals in doctors' recreation rooms focused on the history and progress of medicine, while those in psychiatric wards sought to provide therapy for mental distress.

Church of St. John the Evangelist ca. 1928 Philip DiFalco constructed this model of an East Side parish church over a period of years while he lived at 304 East 59th Street with his father and sisters. The Church of St. John the Evangelist stood at First Avenue and 55th Street from 1881 into the 1970s. The parish had been founded in 1840, on East 50th Street. News coverage of the church's dedication noted that the edifice was 14th-century Gothic in style designed by architect Arthur Crooks, with a campanile tower on the north end and 18 large stained glass windows imported from Munich.

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.

Riverview Terrace at the foot of Sutton Square, ca. 1977. This iconic view of the East River and the Queensboro Bridge was made famous by Woody Allen's 1979 film, "Manhattan." Riverview Terrace itself (out of frame at left) is a private cobblestoned block, once part of an 1878 development of 24 townhouses, of which six remain.

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.

1 Sutton Place, July 6, 1927. Architect Rosario Candela and the firm Cross and Cross designed this 13-story Italian Renaissance building in 1927. The structure was funded by the Phipps family, former Pittsburgh steel barons. Though Phipps was known for funding lower- and middle-income housing, this building was created for the city's elite, who were moving east from their former massive mansions on Fifth Avenue. The large three- and four-bedroom apartments and private river-facing garden attracted wealthy residents, as the rest of Sutton Place became a street of exclusive addresses. Practicality and exclusivity came together in many Candela-designed buildings. The prime building in the Sutton Place enclave along the East River in midtown Manhattan, 1 Sutton Place South featured a porte-cochère for cars and people behind a trio of two-story arches.

City Hospital Blackwell's Island ca. 1896 The City Hospital on Blackwell's Island was originally called Penitentiary Hospital due to its nature as the hospital for the inmates of Blackwell's Penitentiary. Built in 1832, its name changed to the City Hospital Blackwell's Island after a fire caused its reconstruction in 1861. The new building, designed by James Renwick Jr. and constructed by inmates, served both the prisoners and the city's poorer inhabitants. Its name changed once again to Charity Hospital in 1873 due to the nature of its work. This, in turn, caused Blackwell's Island to be renamed Welfare Island in 1921. To complete all this renaming, the island itself was redesignated Roosevelt Island in 1973. WIth many of the City Hospital's facilities growing obsolete, the City Hosptial was moved to Queens in the 1950s. The hospital building on Roosevelt Island was abandoned and left to ruin. Though it has fallen into disrepair, the Landmarks Preservation Committee granted it landmark status in 1975 for its important architectural details.

Anne Morgan House (second from right), now the official residence of the Secretary-General of the United Nations, Sutton Place; April 2, 1936. In 1921, newly-widowed Anne Vanderbilt sold her huge Fifth Avenue mansion and moved to a renovated townhouse on the corner of 57th Street and Sutton Place. She convinced her friend Anne Morgan, daughter of JP Morgan, to create a home next door at 3 Sutton Place. Architect Mott B. Schmidt transformed several existing Victorian style row houses into two neo-Georgian mansions. After Morgan’s death in 1952, the glass magnate and philanthropist Arthur A. Houghton, Jr. acquired the residence. In 1972, Houghton donated the building to the United Nations — and thereby received a hefty tax deduction — for use as the Secretary-General’s official residence. Until then, past UN leaders had leased homes for the duration of their terms.

The East 54th Street Baths opened in 1911 with 79 showers for men and 59 for women. In 1895 a New York State passed a law requiring that cities over 50,000 provided free public bathhouses. In the era of cramped tenement living (with no indoor plumbing), this socially progressive initiative allowed the city's working class a free sanitary facility. The neo-classical building also housed recreation activities such as a pool, gymnasium, jogging track, and basketball court. Despite its very functional purpose, the building featured unique and decorative interior and exterior details, including Guastavino tile vaulted ceilings and colorful brickwork patterns on the facade. Originally under the control of a newly formed city agency called the Public Recreation Commission, the baths and recreation center are now under the auspices of the Parks Department. And though the need for free public showers has changed, the building still houses recreational and athletic activities.

River House ca. 1932 The River House a luxurious 64-unit apartment building overlooking the East River. Designed by the architects Bottomley, Wagner and White in 1931 it has a 14-story U-shaped base creating a courtyard and a 26-story tower. This innovative grand gray brick and limestone building with elaborate detailing and terrace garden rooftop marked a turning point in the history of skyscraper housing; combining the courtyard with the tower. Vincent Astor, Archibald M. Brown, Edward B. Meyer and J. B. Patterson were among the residents in these exclusive accommodations located uncomfortably near dilapidated tenements. This very condition of extreme class distinction may have inspired Sidney Kingsley's play, Dead End.

The nurses plunged her into an ice-cold bath, pulled her out sopping wet, and threw a sheer flannel slip over her head. Large black letters spelled “Lunatic Asylum, B.I., H. 6.” across the garment. Nellie Brown, the now-freezing woman, was relegated to Blackwell’s Island, Hall 6.

"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.

Rosario Candela played a major role in shaping the architectural legacy of 20th-century Manhattan. Candela's elegant yet understated high rises created the look of New York urbanism between the world wars. This walking tour takes you through some of Candela's iconic buildings on the Upper East Side.

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."

Billy's Bar, December 8, 1936. The first location of Billy's Bar, opened in 1870, was on First Avenue near 56th Street. The bar moved in 1880 to the southeast corner of that intersection and remained there until 1966 when it moved south a couple blocks to 948 First Avenue. This 1936 Berenice Abbott photo depicts the large mahogany bar and original gas lanterns of interior in its longest occupied location at 1020 First Avenue. Billy's was a neighborhood and, truly, a city institution. The red checkered tables cloths, friendly long-term staff, and pricey American steakhouse meals – which most people agreed were not that good – greeted patrons for decades. A bar most often filled with regulars, generations of families dined here, starting off their meals with the cole slaw that arrived when they sat down, likely delivered by a waiter who had been working there for more than two decades. The restaurant's tenure at the 52nd Street and First Avenue location (post-1966) came with new interiors a and few new menu items, including vegetables (!), likely sometime in the 1980s, and pasta in 1991. After a run of 134 years Billy's closed in 2004.