Euclid Hall, ca. 1930. This large, multi-section 1903 building was designed by Hill & Turner. It was developed as a luxury apartment buildings with most apartments arranged around narrow light courts. The units typically had four to five bedrooms, with a parlor-library-dining room arranged together. While the original tenants were somewhat prosperous New Yorkers, newer, more luxurious apartment buildings nearby quickly rendered the Euclid Hall less desirable. By the 1920s the entire Broadway front of the building had ground-level commercial spaces. And by the 1930s, it had been converted to the Euclid Hotel, a single occupancy residence (SRO) building. Decades of neglect left the building in a terrible state by the 1980s. It was purchased and refurbished in 1989 by a senior housing organization and continues to function today as a senior and supportive housing building.

The Ardsley, 1931. Completed in 1931 the building remained "The Ardsley," though it was a very different structure. Designed by famed Art Deco architect Emery Roth, the now 22- story building was a Mayan inspired Deco masterpiece. Because of the changes in zoning in 1916, taller buildings were required to include setbacks for increased light and air. Roth took this requirement and ran with, creating ziggurat-like setbacks decorated with Mayan style motifs and executed in black brick on a beige facade. The apartments within were smaller and less extravagant than the ones in the previous building (large rooms but no servants quarters). The exception to this was the triplex on the 21st, 22nd, and 23rd floors. This 11-room suite included 15-foot ceilings and a wood-burning fireplace in every room. Its occupants also had access to a wrap-around terrace on the 21st floor and two terraces on the 22nd floor.

Eldorado Apartments ARCHITECT: Margon & Holder; Emery Roth DATE: 1929-31 STYLE: Art Deco The Eldorado, extending along the entire blockfront of Central Park West between 90th and 9lst Streets, is the northernmost of the four twin-towered apartment houses that give Central Park West its distinctive skyline silhouette. The Eldorado was designed in 1929 by the architectural firm of Margon & Holder with the renowned early 20th-century New York City architect Emery Roth as a consultant. These architects created one of the finest and most dramatically massed Art Deco style residential buildings in New York City.

B'nai Jeshurun, ca. 1917. The community of B'nai Jeshurun was founded in 1825, making it the second synagogue founded in New York and the third-oldest Ashkenazi synagogue in the country. They first occupied a building downtown on Elm Street and as the congregation grew, they moved slowly uptown into consistently larger spaces. Their last move, to West 88th Street, occurred in 1918 when a final new building was constructed for the community. Designed by Henry B. Herts with Walter S. Schneider, both of whom were congregants, the building is described as "Semitic," reflecting Moorish and Middle Eastern styles of architecture. This structure was considered influential to synagogue design in the 1920s, as more buildings were created with these Middle Eastern influences. Today the congregation continues to use this synagogue.

Belnord, ca. 1909. Designed by the architectural firm of Hiss and Weekes and completed in 1908, the Belnord Apartments is a 12-story, Italian Renaissance apartment building. The building occupies the full block between West 86th and 87th Streets and Amsterdam and Broadway. Similar to other full block apartments in New York City the building surrounds a large, landscaped interior courtyard. Originally all entrances to the building were located within the central courtyard. Two low, barrel vaulted arches on the 86th Street facade allow car access to the interior yard. Famous residents of the building include actor Zero Mostel and jazz impresario Art D'Lugoff.

Broadway, west side, north from 86th to 88th Streets. Note subway entrance at 86th Street, 1935. The entrances and exits to the original subway stations were structures with either doomed (entrance) or peaked (exit) roofs, known as kiosks. They were modeled after the structures found on the earliest Metro lines in Budapest, Hungary. An entrance kiosk can be seen at the street level just below the words 'rye whiskey' in this photograph. They were glass and cast metal and were all torn down by the late 1960s. In 1986 a replica of one of the original kiosks was reinstalled at the Astor Place Station.

Public School 166 ARCHITECT: C. B. J. Snyder DATE: 1897-99 STYLE: Collegiate Gothic Built in 1897-99, Public School 166 is one of the few remaining nineteenth-century institutional buildings, and one of the oldest extant public schools, on the Upper West Side. The school was designed by New York’s Superintendent of School Buildings, C.B.J. Snyder, who held that position from 1891 to 1923, exerting a tremendous influence on the design and construction of the city’s schools. He created buildings that were inventive, functional, and handsome as civic monuments and is credited with introducing the Collegiate Gothic style (usually associated with universities) to New York’s public school architecture where it was used for over twenty years.

25-23 West 83rd Street, ca. 1911.

The Ardsley, 1928. Built in 1900 and designed by George W. Keister, the ten-story apartment building was a grand apartment house. The rounded bays of the Central Park West facade allowed for excellent views of the Park and for ideal cross ventilation. The individual apartments were massive with six to twelve rooms; some apartments had three bathrooms. Other features included private telephones, electric lighting and individual "refrigeration plants." But the gilded, over the top 19th century style of the building was, by the 1920s, passé. The older Victorian style buildings of Central Park West began to be demolished and in their place, sleek Art Deco style buildings were rising.

127 West 89th Street, unknown date. This theatre, which is for sale, was formerly the Battery Swedish Methodist Episcopal Church

520 West End Avenue, 1924. The little home on the corner (at right) is dwarfed by the larger apartment buildings that surround it. But, in fact, this small home is actually a mansion of considerable size. Built on a long and narrow plot (27 feet by 100 feet), the mansion, fashioned in Romanesque, Elizabethan, and Gothic Revival styles, was designed by Clarence True as a speculative development. It was purchased while still being constructed by a cotton broker named John Burgess Leech, who had nine children. The house was completed in 1892 and the family lived there until 1905. After the Leech family left, the home was converted into a school for girls and later into eight separate apartments with a doctor's office in the basement. The mansion was threatened by demolition in the late 1920s by an owner who thought the prime corner lot would better serve him financially as a large apartment building. The Great Depression halted his plans, and today the building remains apartments.

12-16 West 86th Street, ca. 1913. Designed by Alexander Welch, for speculative developers William and Thomas Hall, the row mansions were constructed in 1910. No. 14 (at center) was designed in the neo-Renaissance style, while no. 16 (at right) is neo-Georgian.

161-165 West 83rd Street, 1912. As per the notes on the photograph, these wood-frame homes were demolished in the 1910s to make way for a large apartment building.

John B. and Isabella Leech House ARCHITECT: Clarence True DATE: 1892 STYLE: Romanesque, Gothic, Elizabethan In the bold form of its rusticated sandstone base, the complex massing of its tan Roman ironspot brick upper stories (now painted), the subtle handling and richness of its carved stone details of Romanesque, Gothic, and Elizabethan derivation, and decorative wrought-ironwork, it is a fine example of the diverse picturesque, eclectic architecture of the late 19th century which once characterized West End Avenue as one of New York City’s most desirable residential avenues. Its corner site, allowing for two principal designed facades linked by a curved corner bay, both enhances the prominence and integrity of its original architectural elements and emphasizes its status as one of the most significant surviving individually-designed large town houses on the Upper West Side.

Metropolitan Apartments, at the S.W. corner of West 88th Street, 1901. The first subway line, which traveled from City Hall to 145th Street on the West Side, was constructed using the 'cut and cover' method. Workers dug giant trenches through existing streets, laid the tracks, and covered them back up. This was a very disruptive construction method, as entire sections of streets were blocked off for weeks or months at a time. This photograph depicts subway construction at West 87th Street, three years before the subway officially opened.

The Stephen Wise Towers is a 19-story public housing building erected by the City between 1964 and 1965. As an experiment in playground design (think more than the regular ol' slides and jungle gyms), NYCHA commissioned Sardinian immigrant and well-known artist Constantino Nivola to enliven the 100-ft. by 200-ft. lot between the housing and a nearby school. Nivola said, "There is a desolation and barrenness to these buildings. I wanted to relieve that, to introduce a friendly atmosphere in plastic form.” The resulting public art was rendered not in plastic but in cast stone. Nivola created two 9-foot-tall pyramid sculptures and an 80-foot long mural out of cement. But the best known of his works here are the band of 18 chubby abstract horsies. The fat horses were cast with marble dust to sparkle in three colors. The fanciful creatures did not fare well early on, having their snouts knocked off my vandals the same year (1965) they were installed. This ca. 1971 photo captures them post-nose-removal. The horses with the short legs remain today, though perhaps made even more squat by additional layers of cement on the ground they stand on. The murals and pyramids have survived mostly well. The NYCHA partner and non-profit Fund for Public Housing announced in 2016 plans to make the restoration of public art at public housing a priority.

"Amsterdam Avenue, south from and including West 90th Street, showing W.P.A. employees resurfacing the former street car track bed, 1936." As transportation infrastructure changed in the city, so to did the streetscapes. The deconstruction of the elevated trains introduced sunlight to streets that had been in shadows for decades. Similarly as streetcars and trolleys were retired and replaced by buses, the streets they traveled needed to be repaved for automobile traffic. This type of infrastructure work was undertaken by the Works Progress Administration during the Great Depression.

West Park Presbyterian Church ARCHITECT: Henry Kilburn DATE: 1889-1890 STYLE: Romanesque Revival The West Park Presbyterian Church is considered to be one of the best examples of a Romanesque Revival style religious structure in New York City. The extraordinarily deep color of its red sandstone cladding and the church’s bold forms with broad, round-arched openings and a soaring tower at the corner of West 86th Street and Amsterdam Avenue produce a monumental and distinguished presence along those streets.

My Archive Spring 2019 "January 28, 2004. Took my 2 1/2-year-old son out for a walk after a snow storm." —Seth Jonas

Church of St. Paul and St. Andrew ca. 1995 The facade of the church of St. Paul and St. Andrew is an eclectic mixture of architectural styles and decorations topped by a multi-level terracotta tiled roof. Its most eye-catching elements are the two mismatched towers that rise above 86th Street on the south side and West End Avenue on the north side. These two focal points embrace the marble steps leading into the vast semi-circular arched ceiling sanctuary visually anchored by four massive angels. The sanctuary is circled on three sides by a second story balcony flooded with light from a series of clerestory windows. The apse is framed by towering organ pipes and faux marble painted columns. Unique to the church is an intimate 75 seat theatre on its second floor and a large Social Hall on its lower level. This hall is home to Westside Campaign Against Hunger, Goddard Meals on Wheels, Homework Help tutoring program, and a variety of community and social outreach programs sponsored by the church. St. Paul and St. Andrew is a city landmark, an Upper West Side neighbor and a committed global citizen.

The Ardsley, 320 Central Park West. Door detail, ca. 1990.

127 West 89th Street, ca. 1925. Formerly the Battery Swedish Methodist Episcopal Church, 127 West 89th Street, between Amsterdam and Columbus Avenues. This church was remodeled into a motion picture theatre and by 1931 the theatre was boarded up and offered for sale.

El Dorado Apartments, ca. 1920. The history of the El Dorado Apartments is similar to that of its nearby neighbor The Ardsley. The original El Dorado (seen in this photograph) was an eight-story speculative apartment house completed in 1902. Somewhat similar in design to the original Ardsley, the CPW front of the building had large rounded corners to allow for sweeping views of the park and good cross ventilation. In the 1920s the real estate market on Central Park West boomed and a number of the older apartment houses were demolished and replaced. In 1929 investor Frederick Brown bought the first El Dorado and resold the site to Louis Klosk, a Bronx-based developer. The financial crisis that followed would eventually stall the construction and force Klosk to foreclose. The eventual building, finished late in 1931 under new ownership, was a 30-story, twin tower Art Deco building. Designed by Margon & Holder, and their associate architect Emery Roth (who designed the second Ardsley) the large building has terraced setbacks on the towers topped by abstract geometric spires.

Belnord Apartments ARCHITECT: Hiss & Weekes DATE: 1908-09 A notable feature of this architectural scheme is the manner in which the window arrangements differ from those in most contemporary high-rise buildings. Instead of establishing a uniform window size and subordinating the entire composition to it, the architect of the Belnord chose to use windows of several sizes, which were then further differentiated by varying their enframements and embellishments. Handsomely decorated panels were used to tie the corner windows together vertically, which, combined with the rusticated brickwork at the corners of the building, constitute a very subtle but effective vertical emphasis for each of the four long, horizontal facades.

B'nai Jeshurun Community House, 1928. B'nai Jeshurun is the oldest Ashkenazi Jewish congregation and the second oldest Jewish community in New York State. In 1918 the synagogue moved into a Moorish and Middle Eastern influenced structure on West 88th Street. In 1927, one of the architects of the synagogue, Henry B. Herts, was rehired with his current associate, Louis Abramson, to complete a community center. Erected directly behind the synagogue, the new building is styled with complementary Moorish and Middle Eastern influences, though rendered more subtly.

Broadway, east side, at West 84th Street, showing the house in which Edgar Allan Poe wrote "The Raven". In the "Life of Poe' by William F. Gill (published 1877) on page 147-8 appears a drawi ng of this building. It is stated to have been a "few hundred feet from the corner of 84th St. and St. Nicholas Blvd. (formerly Bloomingdale Road)." A Mrs. Brennan lived here for 47 years and rented same to Poe in the Spring of 1844. He finished "The Raven" in the Winter of that year. The following Spring he moved to the City proper. It is inferred that General Washington and his officers used it as a shelter. G. E. Woodberry in his 'Life of E. A. Poe" (V. 2 page 113) reports the location as being "near what is now the eastern corner of 84th Street and Broadway. The sign hanging from the house reads "John Negel, Mason Builder, Ovens Built & Burners Set, Kalaomining". The inscription on the rock reads " R. Hamilton, Upholsterer, 11th Avenue.

39-35 West 89th Street, ca.1915. This series of Renaissance Revival rowhouses was constructed in 1894-1895. The row, from nos.19-39, were designed by Gilbert Schellenger, who designed homes all over the city, including many in the proposed Bedford-Stuyvesant historic district.

Starting in the late 1960s, groups such as the Public Art Fund and New York City's Public Arts Council funded works of public art all around New York. These sculptures were sometimes celebrated, and sometimes ill-received, often prompting both civil discussion and lively debate.

Jewish Center, ca. 1918. While the Upper West Side boasted a number of Jewish congregations in the early decades of the 20th century, most observed a casual prayer environment, or in the case of Congregation Shearith Israel, offered more formal, but foreign services. Two successful clothing manufacturers who moved to the neighborhood, Joseph H. Cohen and William Fischman, looked for but did not find a traditional Orthodox Synagogue. With the religious leadership of Rabbi Mordecai M. Kaplan, the two men founded the Jewish Center in 1918. The new synagogue building, designed by Louis Abramson in a Neo-Classical style, housed not only a main sanctuary. The tall building was an extensive facility that sought to serve not only as a spiritual home, but also a cultural, social, and recreational home for its members.

40 West 86th Street, ca. 1980.

247-249 Central Park West, ca. 1975. Constructed between 1889 and 1890, developer William Noble and architect Edward Angell created a row of nine Queen Anne style homes. The buildings which ran from nos. 241 to 249, were speculatively built, intended for wealthy families. These grand homes facing Central Park spared no expense; they included stained glass, gargoyles, angled staircases, turrets, and balconies. The Real Estate Record & Builders’ Guide described the row as perhaps too whimsical, taking offense at their “giddiness.” Being the corner building, no. 249 (at right) was perhaps the most fanciful of the homes, with a faceted tower topped by a conical tiled cap and false balconies. It was first purchased by by wallpaper manufacturer Frederick Beck and hosted his daughter's extravagant society wedding in 1890. In 1914 it was owned by clergyman Luther Albert Swope and his wife, who came from a wealthy New York family. The home passed to a Swope nephew in 1930 and was sold in 1974. By that time some of the facade had been stripped of its ornamentation, it had been painted (!) white, the interior had been converted to apartments, and all of its neighbors (save no. 247 next door) had been demolished. Around 1990 the paint was striped to work on the facade which had begun to crumble. In 2006 the home was sold for $14.4 million and a conversion back to a single family house was undertaken. Amazingly, though the upper floors have been gutted, much of the original interiors of the lower floors remain intact, including an entirely oak-paneled dining room.

Apthorp Mansion, 1891. The Apthorp Farm was a large plot of land on what is now the Upper West Side of Manhattan (approximately 78th to 99th Streets, from Central Park to the Hudson River). Loyalist and merchant Charles Ward Apthorp purchased parcels and built a mansion in 1764 at what is now 90th Street and Columbus Avenue. It was considered one of the grandest pre-Revolutionary houses in Manhattan. The Hudson River-facing mansion was called "Elmwood" because of the large, mature elm trees that stood nearby. During the Revolutionary War the home was occupied by both sides at various points, a hard fact for the faithful British subject, Apthorp. In the mid 19th century the house and some of the surrounding land became "Elm Park," a beer garden, picnic area, and inn popular among German immigrants. It was also used as a parade ground, where in 1870 a clash between Irish Catholics and Irish Protestants resulted in eight deaths. The home was demolished in 1891, while the original acreage had largely been divided and sold off decades earlier. In 1908 a large apartment house was constructed on the full block between Broadway and West End Avenue and West 78th and West 79th streets. That plot of land had once been occupied by a different home built by Apthorp in 1759 (and sold to someone else less than ten years later). The 20th century apartment building was named for the original landowner.

32 West 88th Street, 1911. Built as a series of buildings on the south side of 88th Street between Central Park West and Columbus Avenue in 1887-1889, no. 32 is one of a few of the buildings to retain the majority of its original features. Designed by Thom and Wilson, the rowhouses here are of a Renaissance Revival style with Romanesque and Gothic Revival features. A number of these buildings were altered in the 1910s and 1920s. They had their stoops removed, new basement entrances created, and some even had their cornices removed as well. No. 32 retains its prominent dogleg front staircase.

241 Central Park West, date unknown. Built between 1930-31 and designed by Schwartz & Gross, the 19-story Art Deco building is clad in brick and cast stone. The architecture firm was well-known for their apartment houses, particularly in Morningside Heights.