While just nine blocks apart, Clay Avenue and the Grand Concourse appear to be in different worlds in terms of architecture and urban form. However, both the small-scale street of two-family houses and the wide thoroughfare lined with Art Deco apartment buildings help to tell the story of the development of this section of The Bronx. Both are located in what was historically the village of Morrisania, named for the English brothers Colonel Lewis Morris and Captain Richard Morris who purchased the land in 1670. In 1900, Ernest Wenigmann began amassing property on Clay Avenue with the intention of constructing 28 houses. Wenigmann commissioned architect Warren C. Dickerson, who had a reputation for designing many fine rowhouses across the borough. For the Clay Avenue development, Dickerson employed elements of the Renaissance Revival and Romanesque Revival styles, and while the houses are all different in their ornamentation, they are linked by the use of beige or red brick, as well as their similar massing and repetitive trends found on either side of the street. The houses were designed in pairs, with each house meant to house two families, but Dickerson subtly designed the houses so that each would give the appearance of a single-family dwelling. Thus, the aspirational middle-class homeowner could fit their family into one apartment while renting out the adjacent unit for additional income, all the while residing in what appeared to be a single-family home. The 28 houses on Clay Avenue were all constructed between 1901 and 1902, when Ernest Wenigmann began selling the properties. Within three years, the street was almost entirely occupied, illustrating the success of Wenigmann’s venture and Dickerson’s designs. Clay Avenue remains a beloved architectural ensemble and tight-knit community. In 1909, seven years after Wenigmann completed construction of the houses on Clay Avenue, the Grand Concourse was opened to traffic and became a crucial link between Manhattan and the still rural sections of The Bronx. The completion of the Jerome Avenue subway in 1918 and the introduction of real estate tax exemptions precipitated a wave of development that swept the Grand Concourse from 1922 to 1931. This period saw the construction of over half of the district’s buildings, primarily five- and six-story apartment houses situated on large lots and enlivened by decorative elements that evoked faraway places. The 1933 opening of the IND subway along the Grand Concourse sparked a second building boom from 1935 to 1945 that produced many now iconic Art Deco and Moderne style buildings. These structures feature terra cotta, mosaic tile, cast stone and beige brick in their designs. Although these buildings were executed in a range of architectural styles, many of them are representative of the garden apartment typology. This housing form, which developed in the late 1910s and 1920s, was principally characterized by medium-rise structures arranged around large courtyards. The neighborhoods surrounding Clay Avenue and the Grand Concourse shared in the precipitous population loss and economic decline that plagued much of The Bronx in the post-World War II era. Nevertheless, the community emerged from the turmoil to become the stable, dynamic and diverse area that it is today. The significance and integrity of this neighborhood’s built fabric prompted the New York City Landmarks Preservation Commission to designate two historic districts here: Clay Avenue (1994) and the Grand Concourse (2011).

888 Grand Concourse, ca. 1985-2000. Designed by Emery Roth in 1937, the building has 84 apartments. According to promotional material, each apartment had a sunken living room, a bathroom for each bedroom and an abundance of closets. The Art Deco style checkered gold and black semi-circular entrance (a striking feature, dulled here due to the black and white film) remains.

The home that once stood where the Bronx County Courthouse was erected.

Lorelei Fountain, 1899 Constructed in the 1890s, the fountain was intended as a monument to German poet Heinrich Heine, to be put up in his hometown of Düsseldorf. The statue was based on one of Heine’s most well-known poems, “Die Lorelei,” about the German folktale of a siren who sits above the river Rhine, luring sailors to their deaths against a cliff face with her song. The fountain, designed by Ernst Herter, was originally commissioned by the Düsseldorf City Council and planned to be unveiled in 1897, for the poet’s 100th birthday. Unfortunately, this plan was met with resistance, due to rising antisemitism in Germany. The statue was proposed to city after city in Germany and was rejected by all. The plans for the fountain caught the attention of New York City's government, and Herter, the sculptor, came to America to work on it in 1893. An original proposal had the statue installed at the Grand Army Plaza entrance to Central Park. The opposition to this prominent location was strong, and eventually, the fountain was given a home in the Bronx; it was unveiled in 1899. The statue has been moved short distances twice since 1899 and has suffered vandalism since its installation. In the 1970s it was considered the statue in New York most affected by vandalism (which is saying a lot).

888 Grand Concourse, entrance, ca. 1970-2000.

Louis J. Heintz Sculpture, ca 1915. Louis J. Heintz was an early Bronx civic leader and the first Street Commissioner for the district of the Bronx. Heintz began his career in the beer industry, and for a time served as the president of the Brewers’ Board of Trade of New York. When sections of the Bronx were consolidated into the Greater New York City in 1898, Heintz was instrumental in the creation of a local board of improvements. The bronze statue of Heintz was designed by French sculptor Pierre Feitu and dedicated in 1909. It was placed on the Grand Concourse due to Heintz's work in advocating for the creation of that thoroughfare. The original statue had a female figure standing on the base of the pedestal who seemed to be inscribing the words carved there. She was removed after being vandalized.

Doorway of 860 Grand Concourse, ca. 1970.

Bronx County Courthouse, 1938. The nine-story Bronx County Courthouse was built between 1931-1934, two blocks east of Yankee Stadium. When the court opened in 1934, Mayor Fiorello La Guardia celebrated its dedication by declaring it the seat of the city’s government for three days. The Art Deco courthouse, designed by architects Joseph H. Freedlander and Max Hausle, has four identical facades, each with matching six-column entrance porticoes. A continuous frieze by Charles Keck depicts various conditions of city residents industry, hardship, and glory throughout history. The courthouse has been the seat of Bronx borough administration since the closure of Bronx Borough Hall in 1969. In 1988, it was renamed in honor of former Bronx district attorney Mario Merola.

All Hallows Institute, 1933. All Hallows was founded in 1909 as a Catholic boys elementary and high school by the Congregation of Christian Brothers. The institution moved from 124th Street in Manhattan to this Bronx structure in 1929 and in 1977 became solely a high school. Famous alumni of the school include former NBS players Olden Polynice and Shawnelle Scott, and James Donovan, the lawyer and military officer who negotiated the release of a captured American pilot from the USSR in 1962.

Entrance to the Bronx County Building, ca. 1980. The Art Deco courthouse, designed by architects Joseph H. Freedlander and Max Hausle, has four identical facades, each with identical six-column entrance porticoes.

East 161st Street, at the northwest corner of Melrose Avenue, showing what was called the "city's tiniest house" in the 1927 book "The Bronx and its People," 1941.

Melrose Branch, ca. 1914. Opened on January 14, 1914, the Melrose Branch was the 10th of 13 branches designed by Carrère & Hastings, who also created the NYPL Main Branch. This library is perhaps the mostly substantially altered Carnegie in city (not considering those which were razed). Once a four-story classically proportioned building, the top two stories were removed during a rehabilitation project in 1959. The two-story building now has almost a mid-century design. During that renovation window and door openings were resized and the main facade was also refaced, similarly adding to its mid century look. Despite the drastic reduction of size, the library has continuously functioned since opening in 1914.

Archived at NYC’s Department of Records, these never-before-seen images taken by photographers at the Department of Housing Preservation & Development (HPD) dramatically capture the disinvestment and physical decay that afflicted the Bronx from the 1970s into the 1990s. During this period, many buildings were abandoned, others destroyed by fire, and yet others demolished for the sake of public safety. Melrose, where the majority of the tour takes place, suffered particularly acute devastation. Returning to these same sites today reveals a stunning transformation: vacant buildings have been restored and made habitable again, and empty lots have given rise to new affordable housing. Melrose has experienced a particularly remarkable renaissance, with thousands of affordable homes created by HPD under the rubric of the Melrose Commons revitalization plan, from the low-rise row houses of Melrose Court (1994) to larger-scale apartment buildings like Elton Crossing (2018). The tour also goes north along Boston Road to Morrisania before terminating further west in Hunt's Point. It's here that some of the most striking examples of affordable housing preservation can be found, like on Fox Street where turn-of-the-century row houses photographed on the brink of demolition have since been carefully restored and saved for future generations to inhabit. As you walk from site to site, use the Urban Archive recreate tool to see these transformations for yourself! They’re the result of tireless work by community organizations and government agencies, and the forerunners of the affordable housing that HPD is producing at a record pace under the Housing New York plan, ensuring that our neighborhoods are stronger and more equitable for future generations. All photos by Paul Rice, Leonard Boykin, and Larry Racioppo.