Van Dyck and Severn Apartments, ca. 1910. This set of twin, 12-story apartment buildings were designed by the, now largely forgotten, firm of Mulliken & Moeller. The firm created large apartment houses and hotels on the Upper West Side and Midtown South, often employing the same formula: structures clad in contrasting flat brick and ornately sculptured cream-colored terra cotta. These two building, constructed between 1905 and 1907, tweaked the firm's winning formula slightly, with the oversupply of terra cotta. The apartments (Severn at left and Van Dyck at right, pictured here) rented initially for $160 to $320 a month. The Van Dyck included slightly more luxurious residences of eight to eleven rooms and two or three bathrooms. Another feature noted in early advertisements are seven magnetic hand-controlled elevators used for both passenger and freight service.

Lincoln Center, 1986. Lincoln Center, a world-class performing arts center, has had close connections to the LGBT community since planning began in the mid-1950s. It was also the location of the first AIDS Walk, sponsored by the Gay Men’s Health Crisis, in 1986.

Sailors in front of the College of Pharmacy, July 1917.

Sculptor Bill Tarr’s welded steel memorial, an enduring tribute to King, can be found at the entrance to the Martin Luther King Jr. Educational Campus at West 66th Street and Amsterdam Avenue. Tarr’s 63-ton sculpture was completed in 1973 and named the “best monument in New York” by New York Magazine in 1985.

55 Central Park West, entrance detail, ca. 1980-2000.

115 West 68th Street, January 9, 1931.

St. Nicholas Rink, 1898. Designed by the architectural firm of Flagg and Chambers, the St. Nicholas Rink was an indoor ice rink, one of the first to use a mechanical method to freeze ice. Opened in 1896 (and funded by Cornelius Vanderbilt and John Jacob Astor among others) the venue hosted ice sports exclusively until 1906. Later presented boxing and wrestling matches. When it ceased operation in 1962, it was reported that more than 30,000 bouts had taken place at St. Nicks. Closed in the 60s, the large industrial neo-Classical building was not demolished until the 1980s, replaced by ABC television offices.

When one speaks about the historic buildings of New York City, images of the stately brick rowhouses of Brooklyn, the cast-iron office buildings of SoHo, and the elaborate mansions of 5th Avenue come to mind. But the interesting architecture of the city is not limited to buildings constructed before 1900 in a classical style. Buildings built in the modern styles in the middle of the 20th century dot the streetscape and range from tall office buildings, to transportation structures, to private residences. These Mid-Century Modern buildings with their unique shapes, unusual massing, and uncommon materials (at least uncommon compared to architecture that came before) stand out from the earlier masonry buildings and the contemporary glassy structures that surround them.

Camera Club New York, ca. 1896-1919. As one of the oldest art institutions in New York, the Camera Club New York was the result of the merger of two other photography institutions. The New York Society of Amateur Photographers, which provided more accessibility to the medium by providing shared darkrooms, materials, and space to work was joined by the Camera Club New York in 1896. The merger was negotiated by Alfred Stieglitz, who became the organization's vice-president. Stieglitz changed Camera Club's newsletter into a magazine, entitled "Camera Notes." The publication sought to elevate photography to a form of fine art. Stieglitz published articles on art and aesthetics side-by-side with the work of American and European photographers. The New York Camera Club was not only a venue for photographers to work, but it also became a space of lectures on new advancements in the field. X-ray photography, the Autochrome Lumiere process, and first Leica camera were demonstrated at the club. Notable lectures include Aero Photography by Edward Steichen, Bernice Abbott's lecture on Eugéne Atget, and Richard Avedon on fashion photography.

55 Central Park West, ca. 1970-1990. Designed by Schwartz & Gross and completed in 1930, this apartment building is perhaps best known for it cinematic history. A location in the film Ghostbusters, the building is portrayed as a super-conductive antenna and portal to the earthly realm for Gozer (an ancient, ultra-powerful, malignant being from another dimension who was summoned to New York City to destroy the world).

21-31 West 73rd Street, 1925. Image above shows the south side of the Park Royal building from West 73rd Street. The Park Royal is a 15-story red brick prewar apartment building designed by architect George F. Pelham. Built around the time of the Dakota, which is just a block south on 72nd Street, the Park Royal was of the first “apartment hotels” constructed to appeal to the wealthy, to attract people out of their downtown townhouses and to the Upper West Side. Leases in the Park Royal included full-time staff, and individual units were sprawling. To preserve the view of Central Park, developers originally purchased a row of brownstones on either side of the building to prevent construction. In 1985, the building underwent conversion into a Cooperative.

144-140 West 64th Street, ca. 1911. The Amsterdam Houses are a 13-building public housing complex that covers 61st Street to 64th Street between West End and Amsterdam Avenues. Planned prior to the Second World War, they were begun in 1947. In the process of construction many rowhouses were demolished (including the two in this photograph).

Majestic Apartment ARCHITECT: Irwin S. Chanin DATE: 1930-31 STYLE: Art Deco The Majestic is one of five-towered skyscraper apartment buildings which define the impressive skyline of Central Park West. Erected in 1930-31 by the Chanin Construction Company, headed by architect and developer Irwin S. Chanin, it is an excellent example of the Art Deco style in its streamlined later phase. Chanin had attended the highly influential 1925 Paris exposition of decorative arts, and returned a convert to the “modernistic” style. The Majestic was the Chanin organization’s first “experiment” in applying the Art Deco style to residential building. The Majestic successfully adjusts the city’s housing laws to the new style; its soaring twin towers are a response to new regulations enacted in 1929. Although built during the Depression, it belongs to the luxury apartment building genre of the 1920s. While the Majestic’s sparing use of ornament and simple materials reflect its date of construction, the resulting austerity is an integral part of the building’s stylistic imagery

Metropolitan Opera House, ca. 1970. Opened in 1966 to replace the original 1883 Metropolitan Opera House at Broadway and 39th Street, this Mid-Century Modern building was designed by Wallace K. Harrison. Plans for a new opera house were discussed as early as the 1920s and plans were made to include a new venue into the development of Rockefeller Center, but financial troubles related to the stock market crash of 1929 halted those plans. In the early 1960s the Met and the New York Philharmonic Society commissioned Harrison, one of the architects in charge of Rockefeller Center, to create their new home and the centerpiece for the larger Lincoln Center complex. The distinctive facade is rendered in a white limestone, and its main entrance (seen here) includes five concrete arches and a stylish glass and bronze facade. Visible though the large glass front, the lobby is decorated with two massive murals by Marc Chagall. The stage technology in the auditorium is some of the most complex in the world. To create the magic of the opera the mechanisms include seven hydraulic, double decked elevators that are 60-feet-wide, three slipstages (that can accommodate a complete stage set), and a 60-foot turntable.

The architects demonstrated their appreciation for the organization that characterizes Beaux-Arts planning in their adaptation of the Central Savings Bank’s great banking hall and its accessory spaces entrance vestibules, foyer, stairways, and mezzanine passages and loggia, to the bank’s irregular four-sided site. The Central Savings Bank’s interior displays the architects’ skill in manipulating scale to create effective transitions between successive spaces.

Dakota Apartments, ca. 1975. Considered the city’s first luxury apartment building, the Dakota Apartments were constructed between 1880 and 1884 and designed by Henry Janeway Hardenbergh for the real estate investor Edward Clark. The imposing German Renaissance style structure was an architectural revelation at the time when the Upper West Side was largely barren, far from the bustling downtown centre of New York City at the time. At eight stories, with 65 apartments (no two of them alike), the building featured a number of desirable and innovative amenities meant to lure prospective tenants who were unaccustomed to the idea of luxurious multi-family buildings. (Rich people in early 19th century New York lived nearly exclusively in single-family private mansions.) Some of these comforts included apartments of up to 16 rooms, newfangled service elevators, and uber quiet living spaces created by heavy interior partitions and double think concrete floors. The Dakota was long thought to be the “most famous apartment building in New York City,” (though perhaps that superlative has changed in the era of the supertalls, like 432 Park). It was well-known as the home of celebrities, most notably John Lennon and Yoko Ono. The Dakota is also a major plot device in the 1980 novel "Time and Again," in which the building proves to be a portal for time travel to historic New York.

Founded on a site where Washington supposedly camped (the accuracy of this has since been refuted,) the Colonial Club was nominally aimed at preserving artifacts and apocrypha from the Colonial and Revolutionary periods. It had also had a secondary purpose: to fill a club sized void. Most of the men's clubs in Manhattan were much further downtown. The Colonial Club (originally chartered as the Occidental Club) was founded by the wealthy businessmen who had moved up to the Upper West Side and found themselves far from their favorite haunts. Fittingly designed by Henry F. Kilburn in the colonial style, the Club provided its members with plenty of amenities. The club had a cafe, a bowling alley, billiard rooms, a restaurant, ample wine cellars, reception rooms, and ballrooms. Unlike its many contemporaries, it allowed women entry, and their entrance was a graceful as that of the men's. Opening in 1892, the club did not last long. Though it held many a lavish party and seemed to be used thoroughly by its members, its distance from the heart of the city sunk its hopes. Floundering financially and unable to afford its clubhouse, the Colonial Club folded, and, in 1902, it was sold at auction. The interior was broken up and converted into office spaces. Some of the ornament from the outside was stripped as its street-facing facade was turned into storefronts. However, much of the old Colonial Club remained for the next century. In 2006, it was stripped of all of its surviving detail and its facade was replaced by aluminum and glass.

Shearith Israel Synagogue ARCHITECT: Brunner & Tyron DATE: 1896-97 STYLE: Neo-Classical This synagogue is a striking example of the monumental neo-Classical style, popular at the turn of the century for public and ecclesiastical architecture. The imposing front facade facing Central Parle West is composed of four large, engaged Composite columns that embrace three round-arched openings, enclosed by elaborate bronze gates, and three round-arched windows with balustrades. The openings, which produce the effect of a loggia, lead into a porch containing the two primary entrances which are located at either side. The front columns are surmounted by an entablature with a modillioned cornice, which is also found above the two smooth ashlar surfaces flanking this central area. Above the entablature is a high attic with smooth-faced pilasters, positioned to correspond with the columns. They enframe panels with classical wreath motifs.

Dorilton Apartments ARCHITECT: Janes & Leo DATE: 1900-02 STYLE: Beaux-Arts Architecturally the Dorilton is one of the finest Beaux-Arts buildings in Manhattan and displays exceptionally handsome detail. It is twelve stories high, built of brick and limestone, and expresses the theme, popular at that time, of base, shaft, and capital, reminiscent of the column. The base consists of two stories of rusticated limestone surmounted by one floor of alternating bands of brick and limestone, crowned by a balustrade carried on heavy brackets which are paired for vertical emphasis at certain points, above which rises the higher shaft portion of brick trimmed with limestone cornerstones, or quoins, thus establishing three vertical pavilions expressed by the greater height of their roof lines. This portion is, in turn, crowned by the ninth floor which repeats the horizontal banding of brick and limestone which is also found directly beneath it. Above this a transitional floor, emphasizing the vertical, forms a base for the capital, or top portion of the building, a very high two-and-a-half story convex mansard roof replete with copper crestings at the tops of the three corner pavilion section

2100 Broadway ARCHITECT: York & Sawyer DATE: 1926-28 STYLE: Neo-Italian Renaissance The design of the Central Savings Bank is six stories high including the monumental story of the banking room, and it is faced with exceptionally handsome blocks of rusticated limestone. As a freestanding building, it is visible from all four sides, and three sides are accented by the tall arched windows which light the main banking room. The Central Savings Bank is one of the outstanding neo-Italian Renaissance buildings in New York City. It is exceptionally well adapted to the shape of its site. Its dignified exterior and great windows are expressive of the bank for which it was built.

Public School 94, ca. 1920. This large public school building was constructed during the last decade of the 19th century and survived into the late 1950s. The current building that occupies this lot is the Lincoln Square Synagogue. The undulating glass facade was designed by local firm CetraRuddy and completed in 2013.

My Archive Summer 2019

Dorilton Apartments, ca. 1975. This 1902 apartment building, designed by Janes & Leo, is an opulent Beaux-Arts structure. Prominent architectural features include a limestone and brick facade, decorative terra cotta, richly balustraded balconies, and a three-story, copper and slate mansard roof. The 71st Street entrance is monumental; the large gated opening leads into a courtyard that is bridged by an arch at the ninth story. Architectural historian Andrew Alpern remarked on its "overblown ostentation" in his 1996 book, Historic Manhattan Apartment Houses. When the building was completed one critic complained of the "detestable spirit that reigns throughout...\[and] sets the sensitive spectator's teeth on edge."

“Three modernized brownstones,” Wurts Bros., 1936. The Gristedes supermarket chain was founded by German brothers Charles and Diedrich Gristede in 1891. By 1948, their business had grown from a storefront at Second Avenue and 42nd Street to include 141 locations in New York, Westchester County and Connecticut.

Dakota Apartments ARCHITECT: Henry J. Hardenbergh DATE: 1880-84 STYLE: German Renaissance Clearly unique in its architectural character in New York, the Dakota, the City’s first luxury apartment house, continue s to be a conversation piece. This imposing structure of eight stories with attic reflects the romanticism of the German Renaissance style and combines a superb blend of formalism and picturesqueness into a unified composition, with dignity and serenity. The design of each elevation is treated in an individual manner, without repetition or symmetry inhibiting the free use of a historical style. Monumental in scale and impressive in appearance, this building, massively constructed of yellow colored brick with stone trim and terra cotta ornament, has the indestructible quality and undeniable grandeur reminiscent of a large, European chateau. It was designed by Henry J. Hardenbergh, who later designed the Plaza Hotel .

Liberty Storage Company, 1938. In 1902 the Liberty Storage Company had placed on the roof of its 8-story building a 47-foot-tall replica of the Statue of Liberty. Cast in Ohio, the statue was moved to New York in two on a flatbed train. It must have been quite a sight for a neighborhood that did not have that much height in its architecture in 1902. Originally there was a spiral staircase to the top but it closed in 1912. The mini lady liberty survived here until 2002 when the building's owners wanted to add four floors to the structure. After 100 years the statue was removed from the building and in 2005 it was installed in parking lot of the Brooklyn Museum.

Congregation Shearith Israel, ca, 1980. Congregation Shearith Israel is the oldest Jewish congregation in the United States, established in 1654 by newly arrived Spanish and Portuguese Jewish. Between 1654 and 1825 all Jews in New York City belonged to this community, as it was the only one. Before 1730 the community was not allowed to built a structure for worship, and as such, leased rented space on Beaver and Mills (now South William) Street in lower Manhattan. The first purpose-built synagogue was on Mills Street, where the community remained until 1834; the original synagogue was rebuilt and expanded in 1818. They then moved to 60 Crosby Street and a location on 19th Street, before building their now 120-year-old building (seen here) on West 70th Street. Designed by the firm of Brunner and Tryon, the neo-Classical limestone temple held to a traditional architectural style, eschewing the Moorish, Romanesque, and Gothic designs of other contemporary synagogues. The interior spaces were designed by Louis Comfort Tiffany, whose stained glass windows complete the facade.

Harperly Hall, 1925. This twelve-story Arts & Crafts building, designed by architect Henry Wilhelm Wilkinson, was the first Central Park West housing cooperative when it opened in 1911.

Majestic Apartments, 1932. The 29-story Art Deco apartment building was constructed in 1930-31. Designed by Irwin S. Chanin, the futuristic sculptures on the facade were created by Rene Paul Chambellan (who also created some of the sculptural art at Rockefeller Center). It is one of the four two-towered apartment houses that line Central Park West. The Majestic was once the home to members of the Genovese crime family, including Lucky Luciano, Frank Costello, and Meyer Lansky. It was also the venue for an attempted mafia hit when Vincent "The Chin" Gigante shot Frank Costello in the lobby.

The Knights of Pythias are a fraternal order (or perhaps better described as a secret society) established in 1864 by Justus H. Rathbone, an upstate New York-born actor, composer, and teacher. Inspired by Irish writer John Banim’s 1821 play 'Damon and Pythias,' Rathbone founded this order on the principles extolled in the drama: friendship, loyalty, and honor. And as with most secret societies, pageantry, rituals, and costumed ceremonies were also important aspects of membership. The Manhattan lodge began assembling lots on West 70th Street for a clubhouse. Similar to other fraternal orders, the Knights of Pythias were interested in exotic architecture and turned to famed theatre architect Thomas Lamb for their Egyptian-themed home. Situated among the brownstones of an UWS side street, the tall building bedecked with cast stone reliefs, polychrome full-sized pharaoh figures, and an over-the-top entrance embellished with Egyptian symbols certainly was eye-catching. As ornate on the interior as the exterior, the building featured a gymnasium, a bowling alley, billiards room, 15 lodge rooms decorated in Aztec, Egyptian, and Moorish motifs, and two large auditoriums. The building served not only the Knights but hosted sermons for large synagogues and churches, dances and concerts, and political conferences and meetings (including by the 1940s civil rights groups, the Socialist Labor, and the West Side Committee of American-Soviet Friendship). One of the main auditoriums also served as a recording studio for Decca Records in the 1950s. New York Institute of Technology bought the foreclosed building in 1957 and discovered the kinds of strange props like wands and skeletons, both plastic and human! After functioning as an education space for NYIT, the building was converted into apartments between 1983 and 1986.

St. Nicholas Rink was an indoor ice-rink that was of the first to use mechanically frozen ice in North America. However, seasonal affairs like skating and hockey proved to be less popular than sports like boxing and wrestling. By the 1920s, St. Nicholas was exclusively a venue for fighting.

Evangelical Lutheran Church of Holy Trinity, ca. 1910. The 1904 Gothic Revival Church, designed by the Schickel & Ditmars firm, is known for its Sunday night Bach Vespers series: recitals of Bach cantatas performed according to the Lutheran liturgical calendar.

Riverside Branch, NYPL, June 10, 1928. The Riverside Library actually dates to 1897 when the Riverside Association donated its collection to the New York Free Circulating Library. That library merged with the New York Public Library in 1901 and the Riverside Branch moved into its new Carnegie-funded home a few years later. Designed by Carrère & Hastings and opened in 1905, this Carnegie library survived until 1969 when it was replaced by a new library building on the same site. The library remained in the mid century building at 190 Amsterdam Avenue until 1992. That year it moved to new building at 127 Amsterdam and the (glaringly mid century built) library was purchased by the West End Synagogue who have retained most of its 1960s facade, including the NYPL signage.

Lovera Cigar Shop, 1913.

It’s no secret that New York is one of the Jewish capitals of the world. The city alone is home to 1.1 million Jews. That makes the city the largest Jewish community outside of Israel - larger than Tel Aviv and Jerusalem combined! The city's Jewish communities are not only multiple but diverse – they are Ashkenazic and Sephardic, Hasidic, and secular. The city owes this diversity to various waves of Jewish immigration over time, but did you know that Jewish geography today still in many ways reflects these immigration eras? Indeed, when and from where your Jewish ancestors immigrated may actually inform where you live in NYC today!

LANDMARK WEST! is the proud curator of the over 3,500 designated landmarks between West 59th and West 110th Streets, Central Park to Riverside Park (up from only 337 when we began our work in 1985). We promote public awareness of these landmarks and the urgent need to protect them against insensitive change and destruction for the sake of our community quality of life. Here, we take you through a number of the building types that make up the Upper West Side.

Congregation Shearith Israel, now located at 2 West 70th Street, takes pride in being the very first Jewish congregation in North America, where something like half the world’s Jewish population now lives. It was founded in 1654 by 23 Jews of Spanish and Portuguese descent who had been living in a Dutch colony in Brazil. When the colony changed hands and the Portuguese took over, the Jewish community fled to avoid the imposition of Inquisition policies, which had previously pushed their families out of Portugal and Spain in the late 15th and early 16th centuries

103 (left) and 101 (corner) West 73rd Street, 1941. This pair of brick Renaissance Revival buildings was designed by Henry Hardenbergh in 1879-1880. No. 103 was once in a row of 25 similar rowhouses designed by Hardenbergh for the developer Edward Clark; it is the only remaining structure of the row. No. 101 (also known as 280-284 Columbus Avenue) is a small apartment building with grey stripes painted on the ground level. These are the oldest surviving Hardenberg-designed buildings in New York City.

The Prasada ca. 1913 Just after the turn of the century as Central Park West was flush with new apartment house development, builders commissioned architects Charles W. Romeyn and Henry R. Wynne to design them an apartment house. The appropriately ornate Beaux-Arts building with a two-story-high mansard roof was opened as a luxury apartment house in 1907, marketed to high-class tenants. Each floor had three apartments with 8 to 12 rooms and rented for $190 to $300 a month. Within the building's first decade two of its tenents were killed in famous disasters. Henry B. Harris, a prominent theater producer, died on the Titanic after pushing his wife to take a seat on one of the last lifeboats to depart the ship. Three years Charles Fowles, an art dealer, who had just moved out of the Prasada died in the sinking of the Lusitania. In the mid-1910s the building was bought by new owners who had the mansard replaced and renovated the building so that it was "practically a combination of club, hotel, and apartment evolved to meet modern conditions." Each apartment had an electric dumbwaiter installed which connected to a large, staffed kitchen. Also, butler and housekeeping services could be rented by the hour. (For those wealthy enough to live there but who perhaps kept only one servant! The horror!) Over the few decades, the facade lost some features including the stone balustrades on the fourth and tenth floors and the iron railings on the window. The building turned coop in 1988 and remains a well-respected address on CPW.

James Baldwin Residence, unknown date. Literary icon and civil rights activist James Baldwin owned this Upper West Side remodeled rowhouse from 1965 until his death in 1987, using it as his residence when in New York City. Although he did not like to be labeled in terms of sexuality, politics, religion, and so on, Baldwin wrote several novels that featured gay and bisexual characters and spoke openly about same-sex relationships.

Church of the Blessed Sacrament, ca. 1919. This Catholic parish was established in 1887. The very first mass was celebrated on Easter Sunday of that year in a stable building on 72nd Street. Only a few months later, ground was broken for the first church, an Italianate red brick structure. The moderately sized building quickly outgrew the expanding congregation. The first church was demolished in 1917 and its replacement completed in 1920. The neo-Gothic building is elaborate inside and out and has a large colorful rose window directly above the entrance.

Broadway and 72nd Street Subway Entrance, ca. 1905. At left is the headhouse for the subway station below. The station opened in October 1904 as a part of the original route of the new subway system (traveling from City Hall to 145th Street). This fare control building was constructed 1904 by Heins & Lafarge, the architects responsible for the early subway station design and art. This station has been inadequate in size from its first day, with narrow platforms and stairs. In 2002, a second headhouse was completed across the street, designed in a modern style influenced by this original structure.

Durland’s Riding Academy, 1903. Long before carriage rides were a maligned Central Park tourist trap, riding was a common Central Park leisure activity. The Durland Riding Academy was established in 1887, with stables at Columbus Circle. In 1900, that structure was condemned, and a new, massive riding facility was built on 67th Street, off of Central Park West. The central building (at left, with multi-story arched windows) included a 600-spectator riding ring, club rooms and boarding facilities for the horses belonging to the city’s elite families. In 1949, the former riding club was purchased by ABC and converted into television studios. The buildings have been significantly modified, but the distinctive arched windows of the Durland Club are still visible.

Sailors in front of the College of Pharmacy, July 1917. The College of Pharmacy was an independent educational institution founded in 1829 and chartered in 1831 by a group of New York City chemists. Early on the school graduated six to twelve new pharmacists a year, but, by the turn of the century, more than 100 men graduated every year. In 1879 the institution became a branch of the University of the State of New York, and in 1904 it was annexed by Columbia College (later University). This process created academic ties, but retained the College of Pharmacy's financial independence. During most of the 19th century, classes met in a variety of locations including classrooms at Columbia College and within City Hall. In 1895 the College moved into the ornate building on 68th Street. In the 1960s, the college proposed a move to a new building on the Morningside Heights campus, but the plan was never realized. In 1976 the school closed under severe financial burden (despite, or perhaps because of, their purchase in 1967 of the lot massive lot to the west, which ran all the way to to Broadway). The College of Pharmacy building was demolished sometime in the decade after closing, as the building that now occupies this lot (2000 Broadway) was constructed in 1986. There is no reason presented as to why the sailors would pose in front of this building.

Dakota Apartments The first of the great super-block apartments with central drive-in courtyard, this building was virtually without precedent. It was designed in the early eighteen-eighties by Henry Janeway Hardenbergh in the high manner of the nineteenth-century German Renaissance. He would later design the Plaza Hotel.

"Broadway Series. Looking north from 69th Street. The Ansonia Apartment Hotel is seen in the distance center of the picture, located on the N.W. corner of 73rd Street.” Arthur Hosking, May 28, 1920.

Brooklyn-born Aaron Copland (1900-1990), known as the “Dean of American Music,” was one of the most influential and popular figures of 20th-century classical music. He grew up in an apartment at 628 Washington Avenue (demolished) in Prospect Heights, Brooklyn and heard his first symphony at the Brooklyn Academy of Music (BAM) when he was 16. In between extensive travels abroad, Copland lived in a number of Manhattan apartments, including his first at 135 West 74th Street from 1924 to 1926. His most significant city residence was a modest tenth-floor studio – furnished with a piano – at the Hotel Empire from 1936 to 1947. He also rented and worked in a nearby loft at 113 West 63rd Street (demolished for Lincoln Center). During this incredibly prolific period, Copland completed a number of important works, some of which are among the cornerstones of 20th-century American music. A selection of compositions completed while in residence at the Hotel Empire include Billy the Kid (1938), Fanfare for the Common Man (1942), Lincoln Portrait (1942), Rodeo (1942), Appalachian Spring (1944), and Symphony No. 3 (1944-46). Copland was given New York Music Critics Circle Awards for the latter two works; Appalachian Spring, composed for choreographer Martha Graham’s ballet in 1944, also earned him a Pulitzer Prize in Music.