High Service Pumping Station, March 5, 1938. The origins of this building date to 1901 when the new consolidated city's Department of Water Supply laid the foundation for a pumping station near the planned East Basin of the Jerome Park Reservoir. The "high service" facility was meant to provide increased water pressure to new taller buildings. While the East Basin was never constructed, the 1906-completed building did find a use as a pumping station, with underground pipes attaching it to the West Basin of the reservoir. The red brick, Romanesque Revival building is low and long with 42 uniform two-story arch-topped windows on its facade. The long and steeply pitched roof once had a tall brick water-tower jutting out from the middle of the building (seen here). The tower has since been dramatically shortened, though the facility still functions in its original purpose. Interestingly this pumping station differs stylistically from other, earlier waterway infrastructure. The early work, rendered in stone and often completed in Renaissance Revival and Italianate styles, was completed by the Aqueduct Commission, a state-appointed panel. This building was designed by George W. Birdsall, of the city's Department of Water. In the case of new aqueduct infrastructure, the city and state agencies often clashed in the early years after consolidation. The red brick Romanesque look of this building "can be interpreted as defiant or hostile," according to architectural historian Robert Kornfeld.

During the 1910s, Joseph P. Day was a real-estate developer on the rise. He'd earned a formidable reputation by the age of 21 after auctioning off large swaths of land in Brooklyn and Queens. Day set his eyes on the Bronx as the next up-and-coming portion of the city. He commissioned photographer William D. Hassler to capture areas of undeveloped land—in effect creating a survey of a quickly growing city. Over two days in 1914, Day sold over four hundred lots of undeveloped land.

Constructivism is an art movement and philosophy that originated in Russia in 1915. The style uses architectural line drawings as symbols of protest against the government. Using these images, think about what it means to apply these abstract ideas to NYC buildings to make your own Constructivist art. This story was created for Christina Rinker's art class at Knowledge & Power Preparatory Academy.

During the 1910s, Joseph P. Day was a real-estate developer on the rise. He'd earned a formidable reputation by the age of 21 after auctioning off large swaths of land in Brooklyn and Queens. Day set his eyes on the Bronx as the next up-and-coming portion of the city. He commissioned photographer William D. Hassler to capture areas of undeveloped land—in effect creating a survey of a quickly growing city. Over two days in 1914, Day sold over four hundred lots of undeveloped land. For 50 years, Joseph P. Day sold what amounted to one-third of the Bronx and one-third of Queens, in addition to portions of Brooklyn, Westchester County, and North New Jersey. He was a driving force in the real estate market. After auctioning off the land on Manhattan Beach, Day looked to the Bronx for new development. This circus tent was set up for one of his Bronx auctions. The auction's purpose was for the sale of the Pearsall Estate in the present-day Morris Park neighborhood. Before the sale, it had been divided into lots and given street names. On May 31 and June 1, 1914, Day sold 420 lots of undeveloped land in this area. He didn't stop there: in 1921, Day sold 1,500 homes in the Morris Park area in just 12 hours.

Amalgamated Housing Corporation, 98 Van Cortlandt Park South, ca. 1929. In the 1920s a new law was passed that allowed for various tax and financing benefits to developers willing to build affordable housing. The Amalgamated Clothing Workers of America (founded in 1914) saw this legislation as an opportunity to create cooperative housing for their members. Their first effort was the Amalgamated Houses. The eventual eleven buildings of the complex were begun in 1927. The design and layout of the structures were specifically aiming to correct the health and quality of life problems that plagued the older tenement buildings. The design of Springsteen and Goldhammer created apartments with proper light and airflow and provided a large interior courtyard that all apartments looked out on. Along with the residential spaces, the complex also provided a rich community environment with newsletters, educational activities, a library, and a supermarket.