Detail of Western Union Building, Hudson Street base, 1930. 60 Hudson Street was Western Union’s headquarters from 1930 to 1973, when the company moved operations to New Jersey. Designed by Ralph Walker of the Voorhees, Gmelin and Walker firm — who promoted the project as “the largest telegraph building in the world” — the massive building occupies the entire square block bounded by West Broadway, Thomas, Worth and Hudson Streets. Walker’s design incorporated German Expressionist elements, including a 19-shade color gradient brick, as well as Art Deco entranceway details closer to street level. Throughout its history, the skyscraper has been a key telecommunications hub: first for regional telegraphy; and, today, as a colocation (data centre) site for various Internet service providers.

Western Union Building, First Floor Interior ARCHITECT: Voorhees, Gmelin & Walker; Ralph Walker DATE: 1928-30 Style: Modernist The First Floor of the Western Union Building is a recognized achievement in Modernistic design. Its design was influenced by the work of German and Dutch Expressionist architects and drew upon Ralph Walker’s well-defined design theory emphasizing harmony and unity. In the design of the first floor interior, executed in the expressionistic style of the exterior of the building, Walker used materials and design motifs in an innovative manner to link the interior and exterior. The design of the interior is exceptional in its extensive use of brick with ingrained, modeled ornament of various colors and patterns.

In the closing decades of the 19th century, New York underwent a profound physical and cultural transformation. Fueled by the wealth of the exploding financial and manufacturing sectors, the city rapidly evolved into a world-class metropolis. The bold ambitions of civic and business leaders, architects, and engineers of the era manifested in landmarks such as the vast Cathedral of St. John the Divine, the stately U.S. Custom House, the towering Municipal Building, and the original terminus of New York City’s first official subway line—the ornate City Hall stop. The sweeping interior spaces common to all of these structures, and hundreds of others, depended upon a venerable Mediterranean building technology adapted to contemporary American construction: arched tile ceilings—or vaults—that were not only self-supporting but could also bear the weight of floors or roofs above them. These vaults were designed and built by a single New York firm, founded by Spanish immigrant Rafael Guastavino (1842-1908) and later headed by his son Rafael Jr. (1872-1950). The Guastavinos’ patented system for building domes and vaults involved multiple layers of thin ceramic tiles bonded with quick-drying mortar. The resulting structures were not only exceptionally strong, but also lightweight, easy to build, and inherently beautiful, thanks to intricate patterns of exposed tile that formed finished, decorative surfaces. Guastavino vaults figured prominently in more than 1,000 projects across the nation, including 200 in Manhattan alone. During its 73-year history, the Guastavino Company helped build some of the most impressive interior spaces in America—veritable palaces for the people. This list based on MCNY's exhibition Palaces for the People, contains many of Guastavino's masterpieces in the five boroughs, both those that remain and those that have been lost to the wrecking ball.

Western Union Building ARCHITECT: Voorhees, Gmelin & Walker; Ralph Walker DATE: 1928-30 STYLE: Modernist, Skyscraper The Western Union Building is a recognized achievement in Modernistic skyscraper design. The building is characteristic of a group of communications buildings designed by Ralph Walker in the late 1920s, primarily for the telephone companies, in which he developed a distinctive design approach related to the contemporary Art Deco style. The design of the Western Union Building was influenced by the work of the German and Dutch Expressionist architects, and drew upon Walker’s well-defined design theory which emphasized harmony and unity.

Western Union Building Interior By the late 1920s, the grandeur of Beaux-Arts architecture had begun to seem old-fashioned. Meanwhile, new concrete vaulting methods started to rival the Guastavino system for spanning large spaces. Commissions like the Western Union Building reflect the company’s adaptation to these changing times. The Guastavino tiles in this magnificent Art Deco interior are primarily an ornamental finish, hanging from a superstructure of steel and concrete.

The area now known as Tribeca was originally developed in the early 19th century as a residential neighborhood close to the city’s center in Lower Manhattan. Its street grid was laid out at right angles off of Greenwich Street and on a diagonal off of Broadway, creating blocks of different lengths and irregular open spaces. The residential character of these blocks allowed for the retention of small lot sizes in future waves of development, thus creating a neighborhood with richly textured streetscapes of varying styles of architecture. After the Civil War, shipping hubs moved from the East River to the North River (later renamed the Hudson River), and South Street Seaport was traded in for steam-powered shipping on the west side via long piers. With a newly thriving industrial waterfront, the neighborhood was poised for change. Around 1812, Washington Market was established on the streets from Fulton to Vesey and Washington to West (near the current site of the World Trade Center). The market grew considerably between 1812 and the middle of the century, becoming the city’s major source for consumables. Hundreds of vendors sold all manner of imported and locally made goods and produce to store owners, restaurateurs and home cooks alike. The growth of the market was, no doubt, fueled by the shipping industry on the river nearby, facilitating the transfer of goods. The market moved to Hunts Point in The Bronx in 1967 and the World Trade Center was developed shortly thereafter. Washington Market Park, located at Greenwich Street between Duane and Chambers Streets and designed by Lee Weintraub in 1978, was named after the historic market. With the combination of a bustling industrial waterfront and thriving commerce, the Federal and Greek Revival residential buildings north of the market were transformed into food storage warehouses and over the course of the rest of the 19th and into the 20th century, the majority of these would be replaced entirely with store and loft buildings and warehouses. This architectural development, which spanned roughly 50 years from 1860 to 1910, encompasses a balance of utilitarian and decorative forms in a range of popular styles of the period, all while defining the identities of the enterprises housed within and the expression of American commercialism as a whole. These buildings still dominate the character of the neighborhood today. Originally referred to as the “Lower West Side,” there are differing accounts as to where the name “Tribeca” came from. It originated in the 1970s, after a Special Lower Manhattan Mixed Use District was adopted for the area south of Canal Street, between Broadway and West Street. A realtor, advertising real estate within the new district, referred to it as Tribeca, which stood for the Triangle Below Canal. Most likely, the realtor hoped to inspire a similar transformation to that of Soho, whose industrial buildings had been converted into artists’ lofts and trendy apartment buildings. Four historic districts were designated in 1991–92: Tribeca East, Tribeca West, Tribeca North and Tribeca South, which was extended in 2002. These are located in Tribeca’s center, while pockets around the historic districts and most of the neighborhood’s periphery remain unprotected. Community members are currently advocating for more individual landmarks and expansion of the historic district borders.