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.

Described in the Crown Heights North Historic District designation report as “among Brooklyn’s most architecturally distinguished areas” and a “showcase for the work of architects who played an important role in Brooklyn’s development”, the neighborhood as a feast for the eyes. Its magnificent and varied residential architecture is peppered with grand religious and institutional buildings, and anchored by the picturesque Brower Park. The neighborhood’s northern and southern boundaries are Atlantic Avenue and Eastern Parkway, but its western and eastern boundaries are up for debate, though many consider them to be Washington Avenue and Ralph Avenue, respectively. The area’s three historic districts were designated between 2007 and 2015, and this story highlights some of the treasures found within and nearby those districts. The neighborhood’s transition from farmland to suburban enclave began in 1854 with the auction of land parcels by the area’s principal landowner, the Lefferts family. At that time, this area was known as the village of Bedford, a name it retained for some time. The area’s epic transformation over the ensuing half century was enabled by a series of major transportation improvements. The first was the introduction of stagecoach and horsecar service between Fulton Ferry and Bedford, which inspired the construction of freestanding villas on the Lefferts parcels. With the announcement of the new Brooklyn Bridge, to be completed in 1883, speculative rowhouse construction began as early as the 1870s, but dramatically increased after the Kings County Elevated Railway was completed along Fulton Street in 1888. It is this latter wave of development that most strongly characterizes the neighborhood’s architectural significance today. When the subway reached the area in 1920, apartment building construction increased to accommodate a growing commuter population. Around 1890, the area north of Sterling Place became known as the “St. Marks District”, but the moniker was short-lived, as many of the wealthy residents of St. Marks Avenue had moved away and their mansions demolished by 1920. Grant Square was also one of the most prestigious sections of Brooklyn at the turn of the century, second only to Grand Army Plaza in importance due to the prominent institutions on its borders, including the Union League Club, St. Bartholomew’s Church, and the 23rd Regiment Armory. The name “Crown Heights” was used starting around 1910 to describe the area south of Eastern Parkway. The area north of the parkway was called “Bedford” well into the 20th century, since the area was considered part of Bedford-Stuyvesant. However, “Crown Heights” gained traction with its white population in the mid-20th century as a way to differentiate itself from Bedford-Stuyvesant, which many began to consider a black ghetto. While historians often refer to Crown Heights “North” and “South” due to their demographic, architectural, topographical, and historical differences, most do not make this distinction even today. During its boom years, the population of Crown Heights North was of mainly European descent. By the mid-20th century, African- and Caribbean-Americans began to make up a significant portion of the population due to the 1936 opening of the Independent (IND) subway line, which provided direct access from Harlem, the center of the city’s black population. By the 1960s, Crown Heights had the largest Caribbean-American population in the city, and by the 1990s, was known as a major Caribbean-American hub in the entire country. Today, the neighborhood is changing yet again, with populations shifting as a result of rising rents throughout the city.

Crown Heights has a rich and diverse history. Though it began as farmland, it developed as a fashionable locale for the second homes of bourgeois Manhattanites. Eastern Parkway soon was studded with cultural institutions and mansions. Furthermore, the 20th century marked an influx of Jewish and later Caribbean immigration, with both communities infusing Crown Heights with new cultures and making their mark on the neighborhood.

St. Gregory's R.C. Church and Convent, 1931. St. Gregory's church is an example of a basilican church inspired by early Christian architecture, and specifically modeled on two 5th century Roman churches. The church features a front portico (not visible in this photograph) and a seven story campanile (bell tower). Completed in 1916, the terra cotta-trimmed building was designed by Frank Helmle. Helmle, a prolific Brooklyn architect who mostly worked in Renaissance inspired styles in the early 20th century, designed banks, churches, and a number of landmark civic structures (such as the Boat House in Prospect Park) as the Superintendent of Public Buildings of Brooklyn. The structure seen in the foreground is the church's rectory (no. 224). Also designed by Helmle, with his then partner Harvey Corbett, in 1922, the building is a modest three-story neo-Classical structure.

A collection of churches across New York City from the New York Public Library.

(Church: Frank J. Helmle, 1915-16; School: Helmle & Corbett, 1921; Rectory: Helmle & Corbett, 1922) This magnificent church has a strong presence in the neighborhood due to its richly decorated, seven-story campanile. Frank J. Helmle, was a prominent Brooklyn architect who also designed the Prospect Park Boathouse (1905), the Shelter Pavilion in Monsignor McGolrick Park (1910), and the Brooklyn Central Office, Bureau of Fire Communications (1913). Harvey Wiley Corbett, with whom Helmle collaborated on the church’s school and rectory, is well-known for his work in developing designs for setback, streamlined skyscrapers. The design of St. Gregory is inspired by Rome’s oldest basilicas, the fifth-century San Clemente and Santa Maria in Trastevere. While its bell tower dominates the rear of the church, the front is graced with a portico entrance of Ionic columns topped by a setback story that features a wheel window and shell niches housing sculpted figures. The school and rectory are far simpler, designed in the neo-Classical style to complement the church