222 East 79th Street James Brown Lord, 1902; renovation: Gwathmey Siegel & Associates 1986 NYC IL, NR-P The very first of the Carnegie-funded branches of the NYPL, the Yorkville Branch officially opened in December of 1902. The three-story building has a limestone facade, divided into three bays with elegant arched windows on the main floor and Ionic columns on the second. At the turn of the century, Yorkville was a densely populated German immigrant neighborhood, and as such, the third floor of the original building housed only German language publications. At the end of World War I, Thomas Masaryk used the Yorkville library to conduct the research that led to his founding of the Czechoslovakian state. The library’s interior was renovated in the late 1980s with funds donated by the Rose family. Once again the place of a pioneering event, the renovation was the first time a branch library was overhauled using private resources. The current library occupies two floors within the original ornate Palladian-inspired façade. The building was designated a landmark in 1967, only two years after the enactment of the New York City Landmarks Law. The library is an New York City Individual Landmark and listed on the New York City and State National Register of Historic Places.

128 East 93rd Street, 1932. Just after the Civil War, Henry W. Shaw, a manufacturer of artificial limbs who dabbled in real estate, hired architect Edmund Waring to design a simple wood-frame home. The resulting home was rendered in the Italianate stye, with the Second Empire mansard roof with three dormers and the bracketed cornice, added later in the 19th century. Created as a speculative development, it was soon purchased by a series of owners, as the city, once decidedly to the south of this area, crept north and surrounded the once sparse neighborhood. In 1920 the home was purchased by wealthy Yorkville brewer George Ehret and operated as a rental property. The original configuration of the home included steep stoop, creating the entrance at a parlor level. Alas, in 1922, the widening of 93rd Street necessitated the removal of the stoop. In 1966, just after the passage of the Landmarks Law, the home was considered for landmark status. At the time the owner was opposed the designation and the process never moved forward. This house was later included in the Carnegie Hill Historic District Extension, designated in 1993. (The original Carnegie Hill Historic District was so named in 1974.)

OSBOURNE APARTMENTS INTERIOR, MANHATTAN Address: 205 West 57th Street New York, NY 10019 Constructed:1885 The Osbourne’s interior is a remarkable gem within the bustle of ever-changing 57th Street in Manhattan. Completed in 1885, the building’s intact interior is evocative of the panache and glimmer that defined the Gilded Age. The space glows with warmth with and opulence, featuring Italian marble wainscoting and carved marble recesses with benches. The floors are mosaic tiles and marble, and the arched ceiling is treated in vibrant in hues of red, blue and gold. Designed to resemble a vertically-extended Renaissance palazzo, the Osborne, built in 1883-85, is the second oldest luxury apartment building in New York--preceded by the venerable Dakota. The building is a massive rectangular structure constructed of heavy Romanesque-Revival-inspired rock-faced stone blocks. The architect of the Osborne, James Edward Ware (1846-1917), frequently combined Renaissance and Romanesque elements to his work. Ware practiced in New York for many years, establishing his office in 1869 and joining in partnership with sons Franklin and Arthur in 1899. Ware was an extremely versatile architect, designing buildings for many different uses. The Osbourne is named for Thomas Osborne, a stone contractor who began the construction of the apartment building in 1883. Unfortunately, the cost of the building led Osborne to bankruptcy and the structure was completed by John Taylor, a hotel developer who had lent Osborne money. The Taylor family retained control of the Osborne until 1961, when it became a cooperative. Because of its location, the Osborne has long been known as the "residential Carnegie Hall" and has been home to such musical and theatrical luminaries as Leonard Bernstein, Van Cliburn, Shirley Booth, Lynn Redgrave, and Gig Young. Reflecting the influence of an Italian Renaissance palazzo, the Osborne is horizontally divided into four symmetrical sections, each of which was originally crowned by a cornice. The modest cornice at the top of the building has been removed and the lower two cornices have lost their classical balustrades. On 57th Street the cornices do not continue across the entire facade, reflecting the presence of a 1906 addition by owner/architect Alfred S.G. Taylor at the western end of the building. The distinctive stone facing and the subtly curving bays, as well as the bartizan-like forms at the corners, are among the notable features of the facades. The major portion of the Osborne has eleven floors, but the rear, visible on Seventh Avenue, has fifteen stories, creating duplex levels for many of the apartments. The street level has been altered for commercial use. The Osborne has a sumptuous ground floor interior. The entrance vestibule and the lobby have ornate mosaics, marble, leaded glass, gold-leafed ornament, coffered ceilings, and murals. The design is attributed to John LaFarge, the noted 19th-century American artist.

Isaac Vail Brokaw Residence ca. 1901 This little castle on its corner site was one of the few remaining town houses which could boast such splendid isolation. Romanesque in many of its details, this mansion was basically of French Renaissance inspiration in its fenestration and roof lines. The marble interiors clove to the Romanesque Revival and were some of the finest and most original work of the style.

Van Dyck and Severn Apartments, ca. 1910. This set of twin, 12-story apartment buildings were designed by the, now largely forgotten, firm of Mulliken & Moeller. The firm created large apartment houses and hotels on the Upper West Side and Midtown South, often employing the same formula: structures clad in contrasting flat brick and ornately sculptured cream-colored terra cotta. These two building, constructed between 1905 and 1907, tweaked the firm's winning formula slightly, with the oversupply of terra cotta. The apartments (Severn at left and Van Dyck at right, pictured here) rented initially for $160 to $320 a month. The Van Dyck included slightly more luxurious residences of eight to eleven rooms and two or three bathrooms. Another feature noted in early advertisements are seven magnetic hand-controlled elevators used for both passenger and freight service.

First Church of Christ, Scientist, October, 1928.

P. Lorillard Tobacco factory, 1927.

This curated scavenger hunt celebrates Pride and tests your LGBT history knowledge. Where did civil rights activist and literary icon James Baldwin reside? At what community church did transgender activist Sylvia Rivera find community on the Far West Side (the congregation renamed the food pantry in her honor)? Know the answers? Take part in the hunt! To get credit for solving a clue, check in at the location (tap the lock button to the left; if you’re in the right place, it will turn green). Each location you check in to is worth a single point. For clues that start with a camera emoji (📸), tap the image to re-create the historical photo for an additional point. After you’ve lined up your re-creation, please remember to tap the “submit to hunt” button.

600 Park Avenue James Gamble Rogers, 1910-11 – NYC HD 600 Park Avenue was built for businessman Jonathan Bulkley and his wife Sarah Tod. After their deaths in 1939 and 1943, the Renaissance Revival mansion sat empty until 1946, when the Swedish Government purchased it as its Consul General’s residence. In 2009, the house became the residence of the Swedish Ambassador to the United Nations

U.S.S Main Monument, 1913. On February 15, 1898 the USS Maine, sitting in Havana Harbor, exploded, killing 266 sailors. Using the anti-Spanish sentiment, newspapers fanned the flames of horror and anger among Americans. In April of that year President William McKinley declared war on Spain. Newspaperman William Randolph Hearst, whose sensationalist yellow journalism had agitated the negative public opinion towards Spain, initiated a public fund to install a memorial almost immediately after the tragedy . The successful, but drawn out, fundraising campaign included benefits and collections taken up by groups large and small, from school drives to a ritzy Opera House event. The monument itself was created by architect Harold Van Buren Magonigle and sculptor Attilio Piccirilli and was to stand over 60 feet. More than 10 years after the explosion, with more than $100,000 raised, both the design and the location were confirmed. After an earlier rejection (fearing competition with the Columbus Statue), a site just within Central Park near the corner of 59th Street and Central Park West was approved. On Memorial Day 1913 the monument was dedicated in front of a crowd of thousands of the citizens and more than 10,000 sailors and soldiers. As the monument was uncovered, a 252 gun salute rang out from the Navy boats in the harbor.

Couple on the steps of the Metropolitan Museum of Art, ca. 1974.

"The street outside the George Gould house at 67th Street & 5th Avenue. Horse-drawn carriages are lined up outside the house for the wedding of Anna Gould to Count Boni de Castellane, 1895."

The recorded history of Yorkville begins in the 17th century when it was a tiny hamlet on the Boston Post Road, which ran northward from New York, which at the time only occupied the tip of Manhattan. It was long the province of farmers and wealthy landowners, including merchant Archibald Gracie, whose riverfront estate is now the official residence of New York’s mayor. In the 19th century, the area slowly began its transformation into the urban neighborhood we see today. Like most such transformations in New York, these changes were largely propelled by transportation improvements. In 1834, the New York & Harlem Railroad (later the New York Central) opened a station at 86th Street and Park Avenue, and in the 1850s, horsecar lines were completed along Second and Third Avenues. This opened the neighborhood to low-density residential development, a few remnants of which remain, including 412 East 85th Street. After two major economic depressions (in 1857 and 1873) and the Civil War, the area was finally primed for a major wave of construction in the late 1870s with the arrival of mass transit. The Third Avenue elevated train was completed in 1877-78, and the Second Avenue elevated in 1879-80. In a relatively short period, the Upper East Side was entirely built up, and the elevated trains segregated the area along ethnic and economic lines. West of Third Avenue, wealthy homeowners established the city’s most exclusive neighborhood, while east of Third Avenue became a thriving immigrant community (already known as Yorkville by the 1860s), which in many ways was a second-generation immigrant neighborhood—a place that recent arrivals aspired to live after filtering through the older, more congested downtown districts like the Lower East Side. Its housing stock was largely composed of tenements, but they were brand new and built after the Tenement Law of 1879 (the “Old Law”), so were subject to improvements. There were abundant employment opportunities, notably in the neighborhood’s breweries and at the Steinway piano factory in Queens, which was a short ferry ride away from the foot of East 92nd Street. The largest and perhaps most visible immigrant group in Yorkville was the Germans. Already an established presence in New York following a wave of immigration in the 1840s, they began moving uptown from their Lower East Side settlement, Kleindeutschland (Little Germany) to Yorkville, which by the turn of the century had become New York’s foremost German neighborhood. They brought with them many of their institutions, including churches and benevolent organizations, as well as cultural and commercial enterprises, such as beer halls and music societies. East 86th Street became the community’s main artery. Other groups had micro-neighborhoods in Yorkville, as well. Czechs began moving to the area in the 1880s and settled mostly between 71st and 75th Streets. Hungarians arrived around the turn of the 20th century on East 79th Street, though their institutions can be found throughout the neighborhood. Yorkville’s heyday as a distinct immigrant community was relatively short-lived. German immigration to New York peaked in 1882, and by the early 20th century, Yorkville’s Germans were already moving farther afield, using the recently built subway to access newer, more affordable neighborhoods in the outer boroughs. At the same time, anti-German sentiment during World War I led many Germans to downplay overt displays of national heritage. The Second Avenue and Third Avenue elevated trains were demolished in the 1940s and 1950s, respectively, removing one of the major boundaries between Yorkville and the rest of the Upper East Side. The neighborhood has seen its share of redevelopment since then, with large apartment buildings towering over the tenements. The recent opening of the Second Avenue subway re-established one of the area’s transit links, but may also put additional pressure on Yorkville’s surviving historic resources.

James B. and Nanaline Duke House ARCHITECT: Horace Trumbauer DATE: 1909-12 STYLE: French Classical The impressive splendor of’ the Duke mansion is achieved through the simple grandeur of’ the French Classical style of’ Louis XY. It was designed in 1909 by the well-known architect, Horace Trumbauer of Philadelphia. He modeled it after the Labottiere mansion in Bordeaux, which had been designed by Laclotte in the 18th century.

Ukrainian Institute of America, ca. 1975. The Fletcher-Sinclair mansion (now the Ukrainian Institute of America) was built in 1897 and designed by the well-known architect Charles Pierrepont Henry Gilbert. The French Gothic mansion was constructed as a single family home for Isaac D. Fletcher, a banker and railroad investor. The building is elaborately designed with drip moldings, gargoyles, and a high mansard slate roof, though the narrow side (5th Avenue) facade is a bit plainer to blend in better with the neighboring buildings. The home, along with Fletcher's extensive art collection, was donated to the Metropolitan Museum of Art after his death in 1917. The museum turned around and sold the home to endow the prints and drawing collections. The buyer of the home was Harry Ford Sinclair, founder of the country's largest independent oil company. He would end up in jail for jury tampering related to the Teapot Dome scandal and sold the home in 1930. After one more private owner (supposed descendants of Peter Stuyvesant), the house was purchased in 1955 by The Ukrainian Institute of America, a new non-profit (started as a small organization on Long Island in 1948). The Institute is dedicated to promoting the art, music and literature of Ukraine and the Ukrainian diaspora. Since 1955, they have thoughtfully and professionally maintained and preserved both the interior and exterior of the building

Volney Apartments, 1916. This 12-story building was the final home of writer and critic Dorothy Parker. She first moved into a two-bedroom apartment in 1952 after a separation from her husband and being blacklisted during the anti-Communist years, forced her out of Los Angeles. At the Volney, she lived among largely elderly female residents and their many dogs. (She based the characters of the unsuccessful 1953 play, 'The Ladies of the Corridor,' on her neighbors.) After a brief two year reconciliation with her husband in California, which ended with his death from an overdose in 1963, Parker moved back into Volney. She remained here, when not hospitalized, until her own death in 1967.

Storefronts at The Marion, a Lexington Avenue Apartment building. November 8, 1911.

Zion St. Marks, at 339 East 84th Street, was built in 1889 for The German Evangelical Church of Yorkville and designed by Michael J. Fitz Mahoney. The church, a stunning example of neo-Gothic architecture, has been a community space since the 19th century. When the Zion Evangelical Lutheran congregation moved into the building in 1892, it began offering German language mass, religious education, and social events. The congregation became a vital part of the Yorkville German community, and also provided a heaven for members of the Lower East Side’s St. Mark’s Evangelical Lutheran Church, after that congregation was decimated by the 1904 General Slocum disaster when an excursion steamboat caught fire and sank during a chartered trip for the congregation. The two congregations merged in 1946 to create today’s Zion-St. Mark’s Evangelical Lutheran Church. Just as the congregation proudly proclaimed its German heritage in the 19th century with an inscription in German on the facade, the church maintains that identity today, and continues to support Yorkville’s German community, with bi-lingual Mass in German and English, as well as with German language classes, and German film programs.

Our Lady of Good Counsel, ca. 1975. This late 19th century Roman Catholic Church stood across from the Ruppert & Company brewery in Yorkville for more than 70 years. Our Lady of Good Counsel was part of a wave of new churches built by the Archdiocese of New York to serve Yorkville’s growing population, including the German immigrant communities who made up Ruppert’s workforce. The brewery complex closed in 1965 and was later razed, opening new sightlines architect Thomas Poole’s Gothic facade — described in the AIA Guide to New York as “robust, undisciplined, deeply three-dimensional.”

Van den Heuvel Mansion, ca 1900. In 1792 a Dutch merchant who was becoming wealthy in the trade and finance markets of New York purchased a plot of land on what is now the Upper West Side. The large plot and small complex of buildings had earlier belonged to Charles Apthorp, whose land still abutted this property to the north. Jan Cornelius Van den Heuvel was long credited with building the mansion on the land, though it was likely there in some form since the mid 18th century. The home was a grand house two stories tall with a steep gabled roof. Van den Heuvel, despite his recent immigrant status, was named director of a U.S. Branch Bank in 1801 and his family moved to a lower Manhattan home as their "city dwelling" while the uptown manse remained their "summer house." The family sold the plot following Jan's death in 1822 and the land was divided. The plot that included the large house was leased to a William Burnham in 1839 who converted the building into a respectable hotel known variously as Burnham’s Mansion House, Burnham’s Hotel, and Burnham’s Tavern. The house was purchased by John Jacob Astor (whose wife was a Van den Heuvel) in 1879 and it was occupied by a floral business in the late 19th century. It is unknown when the full third floor was added. The home was demolished in 1902, though some of its interiors and furnishings were saved. On the now empty land, William Waldorf Astor had built a massive apartment building constructed called the Apthorp.

In 1903, sisters Winifred and Edith Holt established the "New York Ticket Bureau for the Blind" after being inspired by a similar foundation in Florence, Italy. The charitable organization went on to become one with an international reach. Its mission: "to overcome vision impairment for people of all ages through worldwide leadership in rehabilitation services, education, research, prevention, and advocacy." Read on to learn the history and legacy of the Lighthouse Guild.

William Starr Miller House (Neue Galerie), ca. 1915. In 1912, the industrialist William Starr Miller commissioned Carrère & Hastings — then in great demand, having just completed the New York Public Library’s main branch — to design his Fifth Avenue residence. The firm produced a 64-room Louis XIII style mansion with a red brick and limestone facade recalling a pair of local landmarks: Andrew Carnegie’s mansion at 91st Street, and the original facade of the Metropolitan Museum of Art, directly across Fifth Avenue. In 1994, the building was purchased by the art collector and philanthropist Ronald Lauder, who, with fellow collector Serge Sabarsky, founded the Neue Galerie for 20th century German and Austrian Art.

Solomon R. Guggenheim Museum ARCHITECT: Frank Lloyd Wright DATE: 1956-59 STYLE: Museum Among its important qualities, the Guggenheim Museum, designed by Frank Lloyd Wright, America’s preeminent architect, is internationally recognized as an important example of twentieth-century architecture. It is Wright’s most visited building and his only major commission in New York City. In many critics’ eyes the museum is the crowning achievement of the architect’s later career and he himself called it “My Pantheon.” The design, in its prominent spiraling form, synthesizes Wright’s philosophy of an “organic” architecture, that is, buildings conceived and built according to the principles found in nature. Wright unified the building’s construction method, its appearance, and its use, in accordance with his design philosophy. The museum appropriately fulfills his goal of promoting a democratic society through its didactic and inspirational purposes. The building contrasts boldly with its urban environment on Fifth Avenue. The Guggenheim Museum Interior is internationally recognized as a seminal example of a twentieth-century interior space. The design, in its prominent spiraling form and its dramatic spatial qualities, manifests Frank Lloyd Wright’s philosophy of an “organic” architecture, that is, buildings conceived and built according to the principles found in nature. The design of the interior of the museum demonstrates the inherent unity of its construction method, spatial character, and use. Unified through ivory-colored walls and ceilings and a circular patterned terrazzo floor, this monumental skylight space is enlivened by the ever-changing quality of light and by the contrast between illumination levels in the central atrium and in the adjacent exhibition alcoves.

East River Savings Bank, 1927. The temple-styled Amsterdam Avenue branch of the East River Savings Bank played a role in the Lindbergh kidnapping: a marked bill from the ransom payment was discovered in a deposit at the branch, one of many clues leading investigators to solve the case.

Arthorpe Apartments ca. 1905 Following the lead of the Dakota on Central Park West, many of the new apartment houses were built with large central courtyards. This one, which occupies an entire city block, was remodeled several years ago, splitting each apartment into two. The division of rooms was balanced by using the living room and bedroom for one new apartment and the dining room, kitchen, and maids' room for the other. This ingenious scheme produced two fully remodeled apartments where only one existed formerly.

Mrs. James B. Duke Residence ca. 1979 When Horace Trumbauer, the Philadelphia architect, was asked to design a town house for the Duke family, his firm chose as the model a house in Bordeaux, modifying its proportions to suit the site. Some of the handsomest buildings ever erected in New York were designed by his firm. They included Eleanor Widener's house, now razed, at 901 Fifth Avenue; the Herbert N. Straus house at 9 East 71st Street; the Wildenstein Galleries at 19 East 64th Street; and the old Duveen Galleries, which once stood at the northwest corner of Fifth Avenue and West 56th Street. Many of his designs were directly inspired by those of the French architect Jacques Ange Gabriel.

Phillips Presbyterian Church, Madison Avenue between 73rd and 74th Street. Madison Avenue Presbyterian Church (organized in 1839) merged with Phillips Presbyterian Church (organized 1844) in 1899. Together, the two congregations constructed a new, neo-Gothic style building to replace the R.H. Robertson Building that was donated to the Madison Avenue congregation in 1972 by philanthropist James Lenox. The resulting structure includes an 800-seat sanctuary, and was designed by architect James E. Ware.

Midtown Theater ARCHITECT: Boak & Paris DATE: 1932 STYLE: Art Deco The Midtown Theater (now Metro Theater), a rare surviving small Art Deco style neighborhood movie theater, has one of the finest facades of its type in New York City. Among the Art Deco buildings in New York City, many of the most notable are skyscrapers and tall apartment buildings, but small buildings including banks, stores, and some theaters were also constructed in this style. The Midtown was designed and built in 1932-33 by Boak & Paris, an architectural firm involved mainly with the construction of apartment houses in the 1920s and 30s. The theater is distinguished by a glazed terra-cotta facade, executed in various colors, predominantly beige and black. A central medallion features bas-relief stylized figures holding theatrical masks representing comedy and tragedy, symbolic of the use of the building as a theater. Constructed during the Depression, when small neighborhood theaters were built instead of the popular large movie palaces of the 1920s, the Midtown is one of the few functioning Pre-World War II movie theaters of the many which once lined Broadway on Manhattan’s Upper West Side

The Brokaw Mansion, ca. 1900. Constructed between 1887 and 1890 for the millionaire clothing manufacturer Issac Vail Brokaw, the opulent mansion was modeled on the 16th century Chateau Chenonceaux in France’s Loire Valley. Built along "Millionaire's Row" on the east side of Fifth Avenue, the mansion lavishly designed inside and out, with a marble entrance, stained glass, carved wood decoration, mosaics, murals, and even a moat! Brokaw also had constructed on the property a number of homes for his children, including 7 East 79th Street and the 1905-built Gothic twin buildings at 984 and 985 Fifth Avenue. The main house remained in the family until Brokaw's son George sold it in 1946 to the Institute of Radio Engineers (they would later also purchase two of the other Brokaw residences). In 1963 the organization, now called the Institute of Electrical and Electronics Engineers, sold the buildings to Campagna Construction Corporation, who announced in the fall of 1964 that they planned to demolish the buildings. This announcement, paired with interest from the press public, and citywide organization, caught the city's attention and resulted in ardent calls for landmarks legislation. Nonetheless, despite the articles and rallies, the buildings were quickly and somewhat stealthily demolished in February in 1965. A year later, a 26-story cooperative apartment building was erected on the site. The events surrounding the end of the Brokaw Mansion were a warning shot. The threat to the mansions moved the landmarks legislation off the Mayor's desk and into the City Council committee. It was the loss of the buildings that then pushed the legislation to a vote and the eventual signing into law on April 19, 1965.

Park Avenue scene at 96th Street, March 22, 1927. Across Park Avenue is a large apartment building, completed in 1926, and the Park Avenue Methodist Episcopal Church. Note the diversity of vehicular traffic: bus, streetcar (blurred, at left), and horse-and-carriage vehicles are all pictured — and the New York and Harlem Railroad tracks run beneath the Park Avenue median.

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.

Girard Residence ca 1910 Row houses were generally two to four stories and were usually built in groups, of identical design, often covering an entire block or more. The upscale version of the row house- the townhouse- was custom designed and sometimes as tall as six stories (servants occupied the higher floors), but still filled the entire width of the lot. Alexander McMillan Welch was known for his townhouse commissions on Fifth Avenue and along the fashionable side streets of the Upper East Side of Manhattan. This townhouse, at 1014 Fifth Avenue, across from the Metropolitan Museum of Art, was one of many elegant mansions and townhouses built by wealthy New Yorkers on the Upper East Side. One of few survivors of a rash of demolition to accommodate apartment house construction in the 1960s and 1970s, the townhouse remains protected by the Metropolitan Museum Historic District. The building served as the Goethe House, headquarters of the American Center for Cultural Relations with Germany for many years.

Central Park Reservoir ca. 1947 One of the Park's most picturesque landscapes, the reservoir is 40 feet deep and holds a billion gallons of water. It was built in the 1860s as a temporary water supply for New York City, while the Croton Water system was shut down for repairs two weeks each year. The reservoir was decommissioned in 1993, deemed obsolete because of the Third Water Tunnel. President Bill Clinton, Madonna, and Jackie Kennedy Onassis (for whom the reservoir was named in 1994) have all run on the 1.58-mile track.

Carnegie Mansion, ca. 1905. In 1898 Andrew Carnegie began purchasing lots that would result in his owning two full blockfronts on Fifth Avenue between 90th and 92nd Streets. His choice of this land so far uptown—and away from his society peers—was purposeful. Commissioning the firm of Babb, Cook & Willard, he had built a massive 64-room mansion in the style of a English Georgian country house. The property included 30,000 square feet of outdoor space. The house, constructed between 1899 and 1902, features a number of engineering and technological innovations. It was first private residence in the United States to have a structural steel frame and the first in the city to have a residential Otis passenger elevator. The huge house was warmed with central heating. Alas, most were not impressed, The New York Tribune noted that "many people are disappointed by the plainness of the house." (Actually, that is exactly what Carnegie wanted.) The house was occupied by Carnegie's wife until her death in 1946 (Carnegie had died in 1919). The surrounding neighborhood became known as Carnegie Hill. The home remained in the holdings of the Carnegie Corporation and served as Columbia University School of Social Work for a few decades in the mid century. Since 1976, when the Corporation donated it to the Smithsonian who opened the Smithsonian Institution’s Cooper-Hewitt Museum. After an extensive renovation that had the museum closed between 2011 to 2014, it was reopened as the Cooper Hewitt, Smithsonian Design Museum.

Metropolitan Club, 1929. Organized in 1891 by a group of distinguished (male) New Yorkers, led by J.P. Morgan following the rejection of a number of his nominations to Union Club, the Metropolitan Club has remained a elite private social club for the last 125 years. Soon after its establishment the club members purchased a plot of land for a club house (each of the founding 25 members gave $5000). The Stanford White-designed building is an Italian Renaissance structure, which was described by 19th-century architectural historian Montgomery Schuyler as "the largest, most imposing, and most luxurious of the club-houses of New York.'' One distinguished feature of the building is the large wrought iron gated entrance to the east of the 60th street facade. In 1912 Ogden Codman Jr. drastically renovated a neighboring five story residence into a six-story annex for the club, which included bachelor apartments.

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.

One of three sculptures commemorating Latin American leaders, the Simon Bolivar monument celebrates the military general who helped liberate Venezuela, Colombia, Ecuador, Peru, Bolivia, and Panama from Spanish rule. This statue is the third iteration commissioned by the Venezuelan government in a worldwide competition. It was dedicated on April 19, 1921.

Jewish Museum ca. 1978 When Jacob Schiff saw the design for this building, he told his daughter, Frieda, that it was "terribly conspicuous" and that it would "add to the social anti-Semitism" if she and her husband Felix Warburg, built "such an ornate house right on Fifth Avenue." Schiff was the longtime and exceedingly successful president of the German-Jewish investment banking firm Kuhn, Loeb, and Company, and his thoughts on the mansion spoke to the divide between elite Jews and Protestants in Gilded-era New York. The two groups had what was called "a nine-to-five relationship." They did business with one another because it was in their financial interest. But outside of office hours, and particularly between the 18880s and 1920s, they traveled in their own social circles. The Jewish elite formed their own social clubs, which didn't make it into the social register. And wealthy Jewish families took a vacation at the Jersey Shore while the non-Jewish elite vacationed in Newport. The separation was due in some part to choice. German Jews-mostly members of banking families- referred to themselves as "Unser Kreis," German for "Our Crowd." There was an interest in preserving cultural and religious values, and children often married within the circle. But prejudice was the greater cause. Anti-Semitism had increased with the influx of Eastern European Jews at the end of the 19th and beginning of the 20th century, and prejudiced remarks often referred to Jewish people not only as foreign but as non-white. In 1904, J.P. Morgan that he considered his firm and Barings (a British firm with a branch in New York) to be the only "white firms in New York." And Morgan's son, Jack, wrote to his relative- who was the president of the board of the American Museum of Natural History Museum- that he wouldn't go to any of the meetings if Felix Warburg was there. "I cannot stand the German Jews," he said. "In my opinion, they have made themselves impossible as associates for any white people for all time." Felix Warburg, however, was concerned neither with what his father-in-law, nor those outside the Jewish community might think of his new house. He proceeded with the design that you see in front of you, which was drafted by architect Charles P.H. Gilbert who had designed the Fletcher Mansion, just a few blocks down from the Metropolitan Museum of Art on 79th and Fifth.

This handsome, mid-block co-operative apartment building at 955 Fifth Avenue between 76th and 77th Street was built in 1938 and designed by Rosario Candela. With a one-story, rusticated limestone entrance beneath three stories of broadly fluted limestone, it's symmetrical setbacks are representative of Candela's style.

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.

In 1977, the City created a new agency to manage its water supply and wastewater treatment and to regulate air quality, noise, and hazardous materials: the Department of Environmental Protection. DEP inherited the infrastructure, responsibilities, and documentation of many predecessor agencies dating back to the 1840s. That documentation comprises the bulk of the DEP archives and is still used in planning capital construction and rehabilitation projects, as well as watershed land management, facilities maintenance, and other operations.

As every New Yorker who spots a celebrity at Duane Reade knows, thousands of art and pop culture luminaries have called the city home. From Whitman to Warhol, this is a quick guide to the places notable New Yorkers have lived and worked.

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.

990 Fifth Avenue ca. 1927 Built on the site of the grand Woolworth Mansion in 1927, 990 Fifth Avenue, designed by Rosario Candela, is only slightly less luxurious. 14 stories high, Candela designed the building to have only six apartments (5 duplex, and 1 triplex.) With a limestone facade and elegant detailing in a neo-Italian Renaissance design, 990 Fifth Avenue served as the epitome of how in the 21st century lavish homes were moving skyward.

The Immanuel Lutheran Church was founded by German immigrants in Yorkville in 1863. The congregation initially settled on East 87th Street near Lexington Avenue. Its current building at 122 East 88th Street, seen in this 1937 photo, was designed in 1886 in a Gothic Revival style by Arthur Crooks. Its 200-foot granite tower houses bells given to the church as a gift from the Empress of Germany in the later nineteenth century. By the turn of the twentieth century, the church was one of the largest Lutheran churches in New York City and was devoted exclusively to German-language services.

107 East 70th Street, date unknown (post 1921). This five-story building with stone trim was constructed in 1921-22 for Thomas Lamont, a principal at J.P. Morgan & Co. Inc. The architects Walker and Gillette were known for two types of structures: New York City townhouses and suburban mansions. This Tudor Revival style home features stone projected bay windows, a portico with Tuscan columns, large leaded-glass windows, and series of Tudor style chimneys. The architects also set the home back from the building ten feet, and did not build all the way to the lot line on the west side, creating a side garden hidden by a street wall. In 1954 the building was retrofitted for the offices of the Visiting Nurse Service of New York (upon donation of the home by the widow of Mr. Lamont). The organization still occupies the building, which underwent a massive interior renovation in 2009 by the preservation focused firm of Beyer Blinder Belle.

Temple Beth-El, ca. 1901. Congregation Beth-El was a wealthy community of Jewish New Yorkers established in the mid 19th century. In 1873 they moved into a new synagogue on the corner of Lexington Avenue and 63rd Street. In the ensuing years, the community merged with another congregation, sold their home to Congregation Rodeph Sholom, and built an impressive new structure at 76th Street and Fifth Avenue (seen here). The new Romanesque synagogue with Moorish influences was designed by Arnold Brunner and completed in 1891. The facade was constructed of rough cut Indiana limestone and topped with a soaring ribbed dome. The interior was equally impressive, a massive space that could seat nearly 3000 worshipers, dramatically illuminated by 1000 incandescent lamps (likely a spectacle given the era of its construction). The building housed the congregation's services until 1930 when the community, recently merged with Congregation Emanu-El, moved into a new synagogue. This space was used only sporadically for the next 15 years, largely as overflow seating during the high holy days. By the time of demolition in 1947, the once grand synagogue was gutted and looked like a "bombed-out building." In 1949 an 18-story Emery Roth-designed apartment house rose on the former synagogue site.

The Beresford, ca. 1913. The Beresford was an apartment hotel built from 1889-1892 on the northwest corner of 81st Street and and Central Park West. It was superceded by the Beresford Apartments, built 1928-29.

My Archive Summer 2019 “A group visit by Landmarks Commissioners and staff sometime between 1990 and 1994 to review proposed restoration work at Bethesda Terrace.“ —Jeremy Woodoff

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.

This arsenal at 64th Street was already outmoded as a military facility when the Civil War broke out in 1861. Built by Martin Euclid Thompson, it had been an auxiliary headquarters for the Seventh "Silk Stocking" Regiment since 1848. Although it was vacated by them in 1857 when the city claimed the building for its new Central Park, the arsenal continued as a military storage center in the early years of the war. It subsequently became a museum (precursor to the American Museum of Natural History), a weather bureau, and an art gallery. It also served as a makeshift zoo until 1870, when the Central Park Menagerie was given more permanent grounds behind the Arsenal. Today it serves as the headquarters for the Parks Department.

Lotos Club (1947) Built as a private residence, this house shows the most ornate phase of the Beaux Arts style as expressed by many of our architects. The desire to make an elaborate display of details, modified for the sake of originality, often led us up a blind alley.

740 Park Avenue ca. 1945 740 Park Avenue combined the efforts of Architect Rosario Candela, who most likely focused on apartment planning, and Arthur Loomis Harmon, who probably styled its sleek exterior. (In a similar streamline moderne style, Harmon's firm, Shreve, Lamb & Harmon, designed the Empire State Building, which was under construction when 740 Park was completed.) Setting back above the 12th floor on the building's Park Avenue side, 740 featured a distinctive two-story base of corrugated stone, a body decorated with shallow pilasters, and stainless-steel doorways with elaborate geometric decoration. The building originally contained 30 apartments and its first tenants included builder James T. Lee, whose house had stood on the site. Lee's granddaugher, Jacqueline Bouvier--later Kennedy Onassis--spent part of her childhood in the building, and, in 1937 John D. Rockefeller Jr. created a triplex apartment for his family.

35 East 68th Street (left), ca. 1977. This 1901 Carrère & Hastings townhouse was built for Edward K. Dunham, a doctor and professor of pathology at Bellevue, and his wife Mary (née Dows).

The Carlyle Hotel ca. 1947 The Carlyle Hotel, a 40-story yellow-brick and limestone building on 76th street and Madison Ave, was designed in 1929-30 by the architects Bien and Prince and decorated by Dorothy Draper in an Empire Manner. The 40 stories of the southern half are hotel rooms and the 17 stories of the northern half, not originally in the design, are apartments, both rise from a 12 story base and overlook Central Park. This asymmetry created a recognizable and unique silhouette in the "fashionable" Upper East Side.

Phipps Mansion, 1905-1930. Wealthy entrepreneur Henry Phipps Jr. had this marble mansion built on the corner of 87th Street and 5th Avenue in 1905. It rubbed shoulders with the other mansions that lined Fifth Avenue until Henry died in 1930. At this time, Henry's wife sold the property to a developer and began stripping the building of the Vermont marble that was used extensively both inside and outside the house. In fact, the entirety of the building's marble facade was carefully removed to be sent to an empty field in Brookville, New York. This is where their daughter, Amy, meant to build her country estate known as the "Templeton." Little is known about what came of the Templeton, but the stone sat untouched in Brooksville for over 100 years. It eventually drifted around the shores of Long Island, where it then sat underneath the Roslyn viaduct for over 80 years. The Phipps lost the lease to their land after many years went by, and the stone went up "for sale" to anyone with the means to retrieve it. In an interesting case of restoration, the stone was collected by architect Ronnette Riley and repurposed to repair the balustrade of the de Seversky Mansion in Old Westbury.

The Willard D. Straight House was designed by the firm of Delano & Aldrich in the neo-Georgian style and completed in 1915. Straight, an American diplomat, and his wife, the philanthropist Dorothy Payne Whitney, founded the New Republic magazine in 1914. Whitney sold the house in 1927, nine years after her husband’s death. From 1973-1999, 1130 Fifth Avenue was the headquarters of the International Center of Photography.

The Delacorte Clock, ca. 1971. Named after philanthropist George T. Delacorte, the Delacorte Clock is located near the Children's Zoo and Wildlife Center in Central Park. Since it was unveiled in 1965, the clock has chimed seasonal songs and nursery rhymes on the hour and half hour everyday from 8:00 am – 6:00 pm. Its design, inspired by the musical clocks Delacorte observed during his European travels, features a tower and rotating band of animal sculptures by Andrea Spadini.

Bohemian National Hall ARCHITECT: William C. Frohne DATE: 1895-97 STYLE: Renaissance Revival Bohemian National Hall (Narodni Budova) is a rare survivor of the social halls built in the nineteenth century for New York City’s immigrant ethnic communities. Constructed in two phases in 1895 and 1897, it replaced an earlier National Hall on East 5th Street, which had served the Czech and Slovak population living in the Tompkins Square area of the Lower East Side. The five-story building was designed by William C. Frohne in the Renaissance Revival style. Richly ornamented, it is faced in buff Roman brick, stone, and terra cotta. Among its prominent features are a projecting entrance porch with paired granite columns and a two-story arcade with Ionic columns resting on lion’s-head bases.

Doorway of the Chemical Bank, ca. 1990.

Former George F. Baker 69-75 East 93rd Street Designed by Delano & Aldrich 1917-18 and 1928-29 NYC ILs, NYC HD, NR-P, NR-D This L-shaped, red brick and limestone complex was built in two phases by two different owners. The three-story building that abuts Park Avenue was built for banker Francis F. Palmer. In 1928, banker and philanthropist George F. Baker, Jr. purchased the house and added the L-shaped ballroom wing, set back from the street by a courtyard. On the other end, a garage with apartments above was also constructed. The Synod of Bishops of the Russian Orthodox Church Outside of Russia purchased the house and ballroom wing in 1958. The garage wing remains a private residence.

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.

Tanner's Spring, 1897. Tanner's Spring is one of two still-active springs in Central Park. Today it doesn't look like much more than a murky pond or large puddle, but the spring has an interesting 19th-century history. In 1825 free African Americans began buying land in an area between 82nd and 89th Streets and Seventh and Eighth Avenues. The community grew to become Seneca Village and this spring provided the residents with water. The community was evicted in 1857 in preparation for the construction of Central Park. In 1880 the spring got its name when Dr. Henry S. Tanner, a proponent of therapeutic fasting, began a 40-day fast (under observation) with his only nourishment coming from the water at this spring. Local lore then developed that this water source contained some magically concentrated nutrients.

Intersection of East 74th Street and Madison Avenue, looking west toward Central Park, 1929.

Immanuel Lutheran Church, April, 1961. The Immanuel Lutheran Church, a Gothic edifice designed by Arthur Crooks, features a 200-foot bell tower at the corner of 88th Street and Lexington Avenue. The tower houses three bells, presented as a gift from Empress Auguste Victoria of Germany at the church’s 1886 dedication, in recognition of the German heritage of many Immanuel congregants. In June 1969, blasting for the construction of a new Gimbel’s department store one block south caused Immanuel’s vaulted plaster ceiling to collapse, damaging the church interior and stained glass windows. Luckily, the altar and hand-carved Black Forest reredos (the carved, wooden decoration behind the altar area) were unharmed.

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.

Elephant Enclosure at the Central Park Zoo, date unknown (post 1934). The Central Park Zoo began as a small menagerie in 1860 when citizens and circuses started donating animals to the city. It was the first zoo in New York State and, when officially chartered in 1864, was the second publicly owned zoo in the United States (after the Philadelphia Zoo). In 1934 the zoo entered a new era when Robert Moses, the city's master planner, built a new zoo. The grouping of new brick and limestone, neo-Georgian buildings were constructed around the new seal lion display. The featured animals included seals, lions, tigers, elephants, and gorillas. This photograph was taken after the new zoo was opened to the public. The zoo was then closed in 1983 and underwent a multi-year, multi-million dollar renovation and expansion under the supervision of the Wildlife Conservation Society, reopening in 1988.

View east from the southwest corner of First Avenue and East 70th Street, ca. 1935. The large tower of the Rockefeller Institute seen in the distance still stands east of York between 70th and 71st Streets. Today it is obscured from this view by the large Hemlsey Medical Tower.

Yorkville Branch, NYPL 222 East 79th Street James Brown Lord, 1902; renovation: Gwathmey Siegel & Associates 1986 NYC IL, NR-P The very first of the Carnegie-funded branches of the NYPL, the Yorkville Branch officially opened in December of 1902. The three-story building has a limestone facade, divided into three bays with elegant arched windows on the main floor and Ionic columns on the second. At the turn of the century, Yorkville was a densely populated German immigrant neighborhood, and as such, the third floor of the original building housed only German language publications. At the end of World War I, Thomas Masaryk used the Yorkville library to conduct the research that led to his founding of the Czechoslovakian state. The library’s interior was renovated in the late 1980s with funds donated by the Rose family. Once again the place of a pioneering event, the renovation was the first time a branch library was overhauled using private resources. The current library occupies two floors within the original ornate Palladian-inspired façade. The building was designated a landmark in 1967, only two years after the enactment of the New York City Landmarks Law. The library is an New York City Individual Landmark and listed on the New York City and State National Register of Historic Places.

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

The then-new location Museum of the City of New York, seen from across Fifth Avenue near 103rd St. In the niche at right, Adolph Alexander Weinman’s statue of DeWitt Clinton, the sixth Governor of New York.

Louis Stern Mansion, 1884-1929 Louis Stern was the president of the Stern Brothers Department Store. He opened the successful retail company with his brothers, Isaac and Benjamin. The brothers were an important merchandising family who were born to German Jewish immigrants in New York City. In 1884, Louis Stern purchased a 27-foot wide lot between 80th and 81st street on Fifth Avenue. This lot was opposite Central Park. His palace was designed by German architect William Schickel in a French-Gothic inspired fashion. The mansion's ornate facade rose four stories, complete with a stone oriel that supported a stone-balustraded balcony. The doors of the home were clad in bronze and glass. The house quickly became a social hub, hosting parties and social gatherings that brought prominent New York society members to the home. The house was sold to an Adolphus Busch, of St. Louis, in 1911. The mansion was a gift for his daughter Edmee who married art collector Hugo Reisinger. When the couple moved in, Hugo's collection filled the many rooms of the mansion. Paintings of Childe Hassam, Whistler, Carl Melchers, Menzel, Zuegel, and Boecklin lined the walls. The United States entry into World War I prompted suspicion of the Busch's and Reisingers, two wealthy German families. In 1917, an illegal radio receiving station was found on the roof of the mansion. According to a mortified Edmee, their servant Alexander Hugo installed this powerful radio equipment in secrecy under the instruction of her father. The station included a De Forest audion detector, which allowed for the receiving of long-distance messages - likely from Germany's capital in Nauen. Edmee sold the house to a realty company after the war ended. A sixteen-story apartment was constructed a decade later.

The Hudson River Yacht Club at the foot of West 90th Street as viewed southeastward, 1931.

Institution for the Improved Instruction of Deaf-Mutes, June 12, 1937. This ornate Queen Anne style structure was completed in 1882 to the designs of architect Henry Fernbach. The educational facility occupied the entire blockfront on Lexington Avenue from 68th to 67th Streets. Instruction here was focused on a method of communication known as Oralism, which asked that deaf students reproduce sounds by imitating the position of the lips of hearing people. This was the mode of instruction that the school promoted through the 1960s. The institution was renamed the Lexington School for the Deaf by the mid century and moved to Jackson Heights in 1960s, where it remains today (teaching both oralism methods and American Sign Language). This imposing building was once only one of a row of civic and charitable institutions that lined Lexington Avenue between 66th to 69th Street that included Mount Sinai Hospital, the New York Foundling Asylum, and, the still standing, Seventh Regiment Armory. The deaf school was eventually demolished and replaced with another building for Hunter College.

The Henry T. Sloane House, designed by John Mermen Carrere and Thomas Hastings— both had been educated at the Ecole des Beaux-Arts in Paris and both worked for McKim, Mead & White— demonstrated the viability of a modern French vocabulary for a New York townhouse. Begun before the Panic of 1893, the house was completed in 1894 on the north side of 72nd Street. Elaborate sculptural ornament enlivened the classically organized tripartite faced. Above a rather simple striated base, five engaged columns divided the second and third floors into four bays, each containing French doors surmounted by elaborately framed windows. Above a strong cornice, a mansard roof with four dormers articulated with scrolls and arched pediments completed the facade. The house stood apart from more restrained expressions of wealth. Architectural historian Wayne Craven has described the house as a "classicist's nightmare, a raging terror to the classical purist." At right is no. 15, once the home to the prominent businessman Benjamin Guggenheim, the brother of Solomon R. Guggenheim and father to Peggy Guggenheim. He and his family lived here until his tragic death on the RMS Titanic in 1912. As one of the most famous victims of the accident, his final moments aboard the ship have been portrayed in multiple films and TV series about the sinking. He famously met his death stoically- after helping women and children on to the lifeboats, he and his valet dressed in their finest clothes, poured themselves a glass of the finest brandy, and sat in the foyer of the grand staircase, smoking cigars as the ship went down. He remarked, "we've dressed in our best and are prepared to go down like gentlemen."

Broadway, west side, north from West 77th (left) to 79th Streets, 1908.

Huddlestone Arch was designed by Calvert Vaux and Jacob Wrey Mould and built in 1866. Located near the northern end of the Ravine, it is made entirely of rough, uncut boulders and was constructed without the use of any binding material.

Riverside Drive and 97th Street, 1939.

"East 74th Street, east from but not including Third Avenue. This view showing prominently the north side, 1937." Though the storefronts seen adjacent to the corner of 3rd Avenue (on the far right of the photos) have been replaced by a large apartment building, the building at nos. 214 and 216 (just slightly down the block) with the large arched doorways remains.

Sara Delano Roosevelt and Franklin and Eleanor Roosevelt Houses ARCHITECT: Charles A. Platt DATE: 1907-08 STYLE: Georgian This dignified Georgian-style double townhouse was designed by Charles A. Platt and built in 1907-08. The residence was commissioned by Sara Delano Roosevelt, with No. 47 to be occupied by her and No. 49 by her son and daughter-in-law Franklin and Eleanor Roosevelt, and their family. The design of the house is similar to Nos. 6 and 8 East Seventy-Sixth Street, the Ludlow-Parish houses, where, in 1905, Eleanor had been given in marriage to her cousin Franklin by her uncle, President Theodore Roosevelt.

View from outside the Cliff Dwelling apartment building, across West 96th Street, 1924. Peter’s Italian restaurant and buildings to its west (at right) have since been demolished and replaced with playgrounds and a basketball court.

1100 Madison Avenue, ca. 1911. Completed in 1911 by the firm of Schwartz & Gross, the Schermerhorn (now called Gerel) is a 12-story apartment building. It sits just outside the Metropolitan Museum Historic District. The land on which it was constructed was purchased from the prominent Schermerhorn family.

168 East 73rd Street CLIENT: William Baylis ARCHITECT: Charles W. Romeyn DATE: 1899 STYLE: Neo-Flemish Renaissance The 168 East 73rd Street Building is a fine example of the type of private carriage house built during the late 19th and early 20th centuries in this area of Manhattan. Constructed in 1899 for William Baylis, this carriage house was designed by Charles Romeyn in a sophisticated rendition of the neo-Flemish Renaissance style.

Third Avenue, North from 95th Street, 1876. Telegraph lines along Third Avenue and buildings visible in the distance indicate the late-19th century transition from farmland to the Upper East Side’s familiar street grid. In this photo, Third Avenue is likely being prepared for the construction of the elevated railway tracks. The Third Avenue El’s Upper East Side stations opened in December 1878. Wooden advertising boards for Murtaugh’s Dumb-Waiters and Rising Sun Stove Polish are visible on the East side of Third Avenue, while graffiti on rocks lining the West side promotes “cigars” and “liver oil pills.”

American Fine Arts Society ARCHITECT: Henry J. Hardenbergh DATE: 1891-92 The arched, main entrance doorway is well decorated, being flanked by tall, ornate, candelabra-like spindles executed in stone. The surface, surrounding the three gracefully arched second floor windows, is embellished with rich decoration, and these three arches are likewise separated by large sculptured stone spindles. Above them, on the third floor, three triple windows with mullions are flanked by pilasters, decorated with a profusion of detail. A balustrade, adorned with delicate urns, and the low pitched red-tiled roof add a touch of stability and color to this distinguished building.

Allandale Garage, West 96th Street, 1925. This West 96th Street garage has had its appearance substantially altered, but still serves dual automotive functions as a parking garage, and an unusual enclosed gas station.

Ogden Codman House ARCHITECT: Ogden Codman DATE: 1912-13 STYLE: French The Parisian character of the house is most emphatically to be found in the street elevation, with its strong, rusticated first floor and high double carriage door entrance, which serves also as a vestibule. It is again expressed in the second floor stone balcony supported on carved brackets, with beautifully detailed wrought iron railing extending across the width of the entire front. The second floor windows are very high with arched heads indicating the importance of the drawing room behind them. The third-floor windows are square in shape with heavy molded stone frames with swags beneath the sills. All windows of this three-story section are shuttered in a typically French manner. Completing the composition of the facade is a well-proportioned stone cornice at the fourth floor level behind which rises a slate Mansard roof with three unusual dormer windows, distinguished by their handsome semicircular stone frames and arched roofs.

21 East 94th Street, north side, west of Madison Avenue, about 1912.

By 1897, New York City was well on its way to becoming the metropolis of steel and concrete that we know today. Elevator cars were carrying passengers up and down in the earliest skyscrapers, while the elevated rail lines stretched further and further uptown. It was around this time that photographer James Reuel Smith embarked upon a quest to document part of the city’s vanishing pastoral life—its springs and wells.

In New York in 1899 there seemed to be a club for everything. The Century and Lotus Clubs were for authors and artists. The Harmonie and Progress Clubs were for German Jews. The Union League was for men interested in politics and civic projects. And St. Nicholas admitted those with Dutch ancestry

The Metropolitan Museum of Art is one of the great landmarks, and the great institutions, of New York City, the nation, and the world. With more than two million objects in its collection, it is by far the largest museum in both New York and the country. Covering what would be several city blocks, stretching nearly a quarter-mile long, and housing over 2,000,000 square feet of space, it’s roughly the size of the Empire State Building. This story is adapted from a Village Preservation blog, which can be viewed here.

55 Central Park West, entrance detail, ca. 1980-2000.

Whitney Museum of American Art, ca. 1974. Designed in the Brutalist style by Marcel Breuer in 1966, the building was the third location for the Whitney Museum of American Art. (The first two locations were on West Eighth Street and West 54th Street, respectively.) The modernist building with gray granite and reverse ziggurat facade was (and still is) a stark contrast to the surrounding 19th century brownstones, brick row houses, and postwar apartment buildings. The facade is made of 1,500 granite slabs with each weighing between 500 and 600 pounds). Ada Louise Huxtable, the New York Times architecture critic, said of the design, “the taste for its disconcertingly top-heavy, inverted pyramidal mass grows on one slowly, like a taste for olives or warm beer.” The museum always struggled with not enough space and finally in 2015 moved into a new building in the Meat Packing District. In 2016 the Metropolitan Museum of Art moved into the uptown building to display exhibitions that focus on modern and contemporary art.

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.

The Cliff Dwelling, ca. 1990. Herman Lee Meader’s 1916 apartment building is known as the “Cliff Dwelling” for its narrow, near-triangular lot overlooking the Hudson River and Riverside Drive’s 96th Street underpass. Meader’s floorplans embraced the lot’s irregular shape: he designed all rooms to have windows on the Riverside Drive or 96th Street exposures. The building’s terra cotta ornamentation depicts figures that evoke the American West — buffalo, snakes, spears, cow skulls, etc. — as well as Mayan and Aztec-influenced geometric brickwork. In 1979, the Cliff Dwelling was converted to a co-op building, and has undergone significant refurbishments since then.

Park Avenue storefronts at East 88th Street, 1938. At left, businesses No. 1080 include Boghen Pharmacy and Park Avenue Jeweler. At right, at No. 1082 are an unlikely pair: The Great Atlantic & Pacific Tea Co., at street level; and the J.P. Linahan Casket Display showroom one store above.

William W. Cook House, October 23, 1944. Built for lawyer and corporate law expert, William Cook, the house on 71st Street was a French Renaissance mansion deigned by York & Sawyer. Completed in 1913, the two-story entrance with massive bronze gates and the fifth floor open portico (with tile ceiling by Rafael Guastavino) truly set the building apart from the other structures on the block. Upon his death, Cook donated the home to his alma mater, the University of Michigan, who sold it in 1942. During the middle of the 20th century the house was occupied by foundations that worked in scientific, educational and anthropological research and work. The home was converted back into a single family home in 1992 and remains remarkably similar to its original form.

117 East 69th Street, date unknown (post 1929). The neo-Federal building at no. 117 is a relative newbie in this neighborhood. While a number of other neo-Federals are the early 20th century renovations of original 19th-century rowhouses, this one was a brand new construction in 1928-9. Designed by Julius Gayler for the lawyer, banker, and one-time Governor of Puerto Rico (1904-07) Beekman Winthrop, the house has a huge skylight and dramatic spiral staircase. In 1977 the home was purchased by Jim Henson and became the New York headquarters of the Jim Henson Company and The Muppet Workshop. While it served this function, the home was supposedly extravagantly decorated to reflect the playful work of its occupants. Henson passed away in 1990 and the Henson business moved out of the building in 2003.

Edward Durell Stone House, ca. 1980. In 1956 architect Edward Durell Stone purchased a narrow 1878-built rowhouse on 64th Street. Originally designed in a neo-Grec style by James Ware, the 15 feet wide facade was dramatically transformed by the modernist Stone. He removed the stoop and created the entrance at the basement level. The most impactful work was the addition of a bright white filigree screen that reached from street level to the roof, rendered with a somewhat dizzying geometric pattern that alternately looked like circles, squares or diamond shapes depending on the perspective. Though fiercely modernist, Stone respected the history of his home, adding his mid-century details alongside the 19th-century interiors in a harmonious way. This photograph captures the home sans screen when a few years after his father's 1978 death, Benjamin Hicks Stone removed the screen due to deterioration and instability. He reproduced and replaced it. When the home changed hands in 2004, the new owners hired Hicks Stone to restore it and update the kitchen, baths, and mechanical systems.

Tiffany House, ca. 1900. This stunning house on the northwest corner of East 72nd Street and Madison Avenue was commission by Charles Lewis Tiffany, the founder and owner of jewelry store,Tiffany & Co. in 1882. Tiffany hired the firm of McKim, Mead and White, who ended up working closely with Tiffany's son, Louis Comfort Tiffany (LCT) on the design and logistics of the massive 57-room home. Designed in a number of styles, the largely Romanesque and Queen Anne architecture suggested it was one single structure, when it was, in fact, four buildings stacked on top of each other around a courtyard. Different family members, such as LCT, his sisters and their families resided in the different "apartments" within the complex. Unsurprisingly the home was extravagantly decorated with stained glass, antique lacquerware, collections of porcelain, decorative metalwork, and exotic ornamentation. The home featured decoration created and designed by not only Tiffany, but his associates: Lockwood de Forest, who directed the production of architectural woodwork; glass worker John La Farge; and the sculptor, Augustus Saint-Gaudens. The same group had recently finished work on the interiors of the Seventh Regiment Armory on Park Avenue. By the 1890s financial issues resulted in a number of the "apartments" being rented out by non-Tiffany family (though still upper class family friends). Louis Comfort Tiffany died in this home in 1933 and the house was demolished in 1936.

Replacing the William A. Clark Mansion, 960 Fifth Avenue is one of Candela's most complex projects-"literally," according to The New York Times, "12 mansions built one on top another." Although the corner building appears to be one large volume, it actually comprises two sections, each defined by subtle variations in decorative details. One section, with the Fifth Avenue address, features a mixture of duplex and simplex units sold as co-operatives. The most expensive apartment, a duplex that contained a double-height, 58-foot living room, sold for the then-record price of $450,000, or about $6.5 million today. The building's second section, with a separate entrance at 3 East 77th Street, was made up of smaller apartments, intially rental but now a co-op.

Gainsborough Studios ARCHITECT: Charles W. Buckham DATE: 1907-08 The Gainsborough Studios is a rare surviving example of artists’ cooperative housing, a building type popular in Manhattan for a brief period in the early twentieth century. Built during the heyday of its type, in 1907-08, the Gainsborough provided both living and working spaces. The handsome, distinctive design of the building reflects its unusual purpose. Large, double-height windows provide an abundance of northern light to the artists’ studios. Designed, managed and inhabited by artists, the building was given artistic connotations via its name and the proliferation of exterior ornament.

720 Park Avenue, ca. 1928. Park Avenue at its N. W. corner of 70th Street, long before the Upper East Side became a desirable neighborhood. Pictured in the foreground is the old 1872 Presbyterian Church before it was torn down and replaced by apartments.

German Delicatessen, ca. 1930. A German deli when pictured in 1930, this storefront was later the home of the Old Dutch Delicatessen, whose specialty was smoked eel. The building was razed sometime at the start of the 21st century and a new glassy structure completed in 2009.

2 East 70th Street ca. Designed by Rosario Candela and the firm Walker & Gillette, 2 East 70th Street stands on the site of the Blair Mansion, a marble home built by Carrere & Hastings that survived for less than a decade before being torn down. Candela styled 2 East 70th street to take after the mansion in order to complement the Frick collection across the street. The simple stone clad design and quoined corners intended to leave a classic yet elegant impression.

St. Nicholas Rink, 1898. Designed by the architectural firm of Flagg and Chambers, the St. Nicholas Rink was an indoor ice rink, one of the first to use a mechanical method to freeze ice. Opened in 1896 (and funded by Cornelius Vanderbilt and John Jacob Astor among others) the venue hosted ice sports exclusively until 1906. Later presented boxing and wrestling matches. When it ceased operation in 1962, it was reported that more than 30,000 bouts had taken place at St. Nicks. Closed in the 60s, the large industrial neo-Classical building was not demolished until the 1980s, replaced by ABC television offices.

ARCHITECTS: Pennington & Lewis DATE: 1929-30 The workday water tank soars to architectural heights when enclosed by inventive designers like Pennington and Lewis. Atop this Moderne apartment house, several enormous stone heads on tall brick piers gaze serenely at Central Park and Carnegie Hill. The architects may have taken their inspiration from depictions of Greek kourioi (freestanding figures of young men) or from the goddess-like caryatids supporting the Erectheion on Athens's Acropolis. The effect here is one of the most striking in New York City.

Park Avenue and East 100th Street, to the east of the New York and Harlem Railroad's Harlem line tracks.

In 1891, the First Baptist Church on 79th Street and Broadway was designed by George M. Keister, the architect of the Apollo theater. The exterior of the church was designed with symbolism from the bible. The original structure had a rather peculiar roof of stained glass. While beautiful, constant leaks proved that this was not sustainable. The roof was eventually replaced with tiles. The towers, notable asymmetrical, represent the Christ and the Church. The taller tower, symbolic of Christ, emits light while the lower tower, meant to symbolize the Church, appears incomplete to await the return of Christ. The location of this church was the fourth for this congregation. It sits near where its founder, pastor John Gano, escaped an ambush en route to joining George Washington's army.

Astor Mansion, Fifth Avenue; 1897. Where you now see Temple Emanu-El, Mrs. Astor's French chateau once stood, with a ballroom large enough for 1200 guests. Mrs. Astor— the only name she went by—was the gatekeeper of Gilded Age society. And a ticket to her annual ball told you whether you had made it in. Through blood and marriage, Mrs. Astor hailed from the city's oldest and wealthiest stock. Caroline Webster Schermerhorn was born to one of New York's first Dutch families, who made their fortune in shipping. Her husband, William Backhouse Astor, was the grandson of the country's first millionaire, John Jacob Astor, a fur trader who had the foresight to buy up Manhattan real estate in the early 1800s. Ball season extended from debutante parties in December through weddings around Easter time. But Mrs. Astor's fête—always the first Monday in January—was the most exclusive of them all. Her social advisor, Ward McAllister, had determined that there were "only about 400 people in fashionable New York," telling the press "If you go outside that number, you strike people who are either not at ease in the ballroom, or else make other people not at ease." In fact, Mrs. Astor's first ballroom accommodated up to 600 guests. But that wasn't the point. In 1895, Mrs. Astor decided to leave her home on 34th and Fifth Avenue to come up to this location before you, following the trend to move uptown. She hired William K. Vanderbilt's architect, Richard Morris Hunt, who put up the four-story French Renaissance chateau to the tune of $2 million—or $54 million in today's dollars. Like her house, Mrs. Astor's balls took their inspiration from European kings and queens. Servants wore green plush coats and brass-buttoned red vests with white breeches, black silk stockings, and gold-buckled shoes. Mrs. Astor, meanwhile, usually donned royal purple, diamonds, and pearls, and greeted guests while standing next to a portrait she commissioned of herself. Until the end of her life, Mrs. Astor tried to maintain her reign over Gilded Age society. In a 1906 interview for a magazine called, appropriately, The Delineator, Mrs. Astor said, "I hope my influence will be felt in one thing, and that is discountenancing the undignified methods employed by certain New York women to attract a following." She added that recent parties "belonged under a circus tent rather than in a gentlewoman's home," probably thinking of a recent Newport ball that had totally upended the social order with guests dressed as the servants. Mrs. Astor died in 1908. Her mansion was torn down in 1926.

92nd Street Young Men's and Young Women's Hebrew Association, June 3, 1928. Founded in 1874 as the Young Men's Hebrew Association, the 92nd Street Y (as it is more commonly known) is a social institution whose mission was originally, "to promote a better feeling and a higher culture among young men and to unite them into a liberal organization, which shall tend to their moral, intellectual, and social improvement.” First housed in a rented building on West 21st Street that included parlors, a reading and a gym, the Y moved to larger quarters on 42nd Street a few years later. During the 1880s and 1890s the Y slowly continued its move uptown at various location along Lexington Avenue. In 1899 Jewish-American banker, businessman, and philanthropist, Jacob H. Schiff donated $150,00 for the construction of a new building at 92nd Street. The new building (seen here) opens in 1900 and provides educational, religious, and recreational programs for young Jewish men. The building has an annex with pool and dormitories added in 1911. The first Jewish Boys Scout troop is organized at the Y in 1913. In the late 1920s, the original build is razed and by 1930 the new Art Deco building opens, with a dormitory for 235 men, two gymnasiums, a 25-yard pool, the wood-paneled, 917-seat auditorium, kosher cafeteria, billiard room, and Art Center facilities. The 1920s and 1930s marked a major expansion of the programming under visionary leadership. The Y's place as a hub of music, arts, and community service is solidified, as they also open their educational and arts programming to the general public. Today the 92nd Street Y remains a preeminent and busy New York cultural institution, nearly 150 years after its founding.

820 Park Avenue, ca. 1922. This Park Avenue building is a glorious reminder of New York's past. It was built in 1927 for the flamboyant publisher of the Hearst organization, Albert J. Kobler, who got his start in the business selling newspaper ads around 1910. Kobler hired Harry Allan, the architect behind the Friars Club and many lavish residential projects, to erect what was then a "modern concept" in apartment living: multiple mansions stacked one upon another. With time, the duplex and penthouse triplex house that Allan constructed for Kobler has come to represent the last gasp of the old, extravagant ways of Manhattan living. The duplexes, however, have since been divided into single floor-throughs with only a few today that have returned to their initial grandeur.

Speyer Mansion, ca. 1929. Constructed by the wealthy banker, James Speyer, the large Louis the XVI style structure had more than 40 rooms. The home was often used in the early 20th century for gatherings and fundraisers for Mrs. Speyer's charity work in advocating for working children and animals. Mr. Speyer was a benefactor of the University Settlement and President of the Provident Loan Society. Speyer passed away in 1941 and left the house to the Museum of the City of New York. The museum removed the art and artifacts but later sold the home. It was eventually demolished and a 19-story apartment house was constructed in 1951 on the site.

55-57 East 75th Street, ca. 1911. Nos. 55 and 57 were both constructed in 1881-82 by architect John Prague. Both building have been renovated in the 20th century. In the late 1930s, the building on the left (no. 55) was renovated into brick front neo-Federalist style building that can be seen today. No. 57 had a much more dramatic facelift later in the century. In 1979 architect William Glickman completed a new Brutalist facade for the building, with angled concrete and projecting balconies on the second and third floors. The now nine-story building towers over its neighbors. The writers of the AIA Guide to NYC say this, " a curious former row house transformed into an early "sliver building. As an object it is abstractly handsome. As a citizen of the block it's inciting a riot."

By Dianne Durante As one walks around Central Park, statues, monuments, and memorials pop up left and right. Come along for the ride as the Gotham Center for New York City History explores this history of some of these Central Park landmarks. Adapted from "The Earliest Sculptures In Central Park": August 14, 2018, an article that originally appeared on the Gotham Center blog here.

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

Marseilles Hotel ARCHITECT: Harry Allan Jacobs DATE: 1902-05 STYLE: Modern French The Hotel Marseilles, clad in brick with limestone, wrought-iron, and terra-cotta trim and crowned with a sloping mansard roof, illustrates the rise of the “Modern French” style in commercial and hotel architecture. The appearance of this style in the United States was the result of a sharp increase in the number of American architects attending the Ecole des Beaux-Arts in Paris and the concomitant ascent of France as the dominant influence in American architecture in the late nineteenth century.

New York Hospital under construction, 1940. The original New York Hospital was founded in 1771 by Edinburgh graduate Samuel Bard in lower Manhattan. The hospital moved a number of times in the ensuing centuries until it landed at its current location in 1932 (it had become affiliated with Cornell University a few years earlier in 1927).

Rodin Studios, 1922. Conceived as a studio-residence for prosperous artists in the 1910s, the Rodin Studios were the project of painter John Fry, his wife Georgia Timkey Fry, and painter Lawton S. Parker. Named for the sculptor Auguste Rodin, the architect Cass Gilbert designed a striking Gothic facade clad in sculptural terra cotta. When completed in 1917, the building included retail and offices on the lower floors for additional income. The upper floors were studios, studios with adjacent living spaces, and duplex apartments. In 1926 novelist Theodore Dreiser and his wife moved into the Rodin. They held a weekly Thursday night gathering of a diverse cross section of New York society, inviting financial tycoons, writers, artists, critics and social scientists. By the turn of the 21st century most of Gilbert's interiors were long gone. The ornate exterior was in bad condition, with chucks of terra cotta falling to the streets below. The building underwent a massive restoration. 235 historic wood window were renovated and terra cotta sections were replaced with new casts. Finally the 8-foot tall cornice was removed and replaced with new structural steel and glass fiber reinforced concrete replicas.

Phipps Mansion, 1933. Henry Phipps was the partner of Andrew Carnegie in the Carnegie Steel Company. When the company sold in 1901 he made a profit of approximately $100 million. As generous as Carnegie, Phipps funded hospitals for TB patients and working-class housing. In 1901, Phipps purchased a number of lots on the corner of Fifth Avenue and 87th Street. He commissioned the firm of Trowbridge & Livingston to design a massive Italian Renaissance style mansion. Four stories (though it looked to be only three) and set far back from 87th Street, the home was reached via a semi-circular carriage drive. Largely complete after many years of work around 1909, the family then moved into the home that had cost Phipps $2.5 million. Less than 10 years later the mansion was sold to Daniel Guggenheim. In the 1920s apartment house development came to Fifth Avenue with gusto. Developers purchased the mansions of millionaires who had moved on or passed away and quickly replaced them. The Phipps Mansion was demolished in 1927 and replaced with a 13-story apartment house, completed in 1928.

Grafton W. and Anne Minot House ARCHITECT: A. Wallace McCrea DATE: 1929 STYLE: Beaux-Arts This elegant residence, built in 1902-03 for M. Louise McAlpin, was designed by the New York City architectural firm of Barney & Chapman. In keeping with their training at the Ecole des Beaux-Arts in Paris, the architects’ design was inspired by the classical traditions of the 18th-century French Hotel particular.

120 East 92nd Street ARCHITECT: Unknown DATE: 1871 STYLE: Italianate This house has a front yard with iron railing and stands three stories above a high brick basement. A steep flight of wood steps leads to a porch with open-work columns. The handsome paneled double front door with rope moldings is at the right and a pair of French doors at the left. The shuttered windows at all floors have handsome wood frames surmounted by cornices with modillions and this theme is repeated at the prominent cornice of the porch roof. The clapboard front wall is surmounted by an Italianate cornice carried on evenly spaced brackets with panels in between.

Sheep Meadow ca 1910 Sheep Meadow is the best example in today’s Park of the pastoral vision that Olmsted and Vaux intended for Central Park’s meadows. Their design called for peaceful expanses of green that inspired calm and refreshing thoughts just by looking at them, not necessarily walking upon them. The fifteen-acre meadow holds true to this intention today as Central Park’s largest lawn without ballfields and as a designated quiet zone. No organized sports or gatherings are allowed on Sheep Meadow to preserve the space for quiet picnicking and relaxation. Originally a rocky and swampy terrain, Sheep Meadow was the most expensive landscape in the Park to construct. Its transformation to a pastoral meadow required the blasting of rock outcrops and the installation of four feet of soil. The landscape was first known as “the Green” or “the Commons,” but became known as “Sheep Meadow” in the early twentieth century due to the ever-present flock of pedigree sheep that grazed the meadow. For nearly fifty years, the sheep spent their days on the meadow and their evenings in the nearby Sheepfold, which is now the landmark Tavern on the Green restaurant. In the 1960s, Sheep Meadow became the iconic gathering spot for New York’s counterculture, including anti-War protests, peace rallies, love-ins, be-ins, draft card burnings, Earth Day celebrations, and popular concerts. These events, and the lack of management and proper maintenance led to severe damage and erosion on the lawn. By the late 1970s, it was a virtual dustbowl. The restoration of Sheep Meadow was one of the first projects undertaken by the Central Park Conservancy in 1980. The newly lush and well-managed lawn was the first green space that many New Yorkers had ever seen in Central Park. Public excitement over the newly opened lawn inspired and an outpouring of support for the nascent Conservancy that empowered its first decade of success. -Central Park Conservancy

By Dianne Durante In Olmsted and Vaux’s Greensward Plan, the only sculpture was one atop the fountain at the center of Bethesda Terrace.

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.

J. William and Margaretta C. Clark House ARCHITECT: Trowbridge & Livingston DATE: 1913-14 Only two bays wide, No. 49 East 68th Street is given interest and importance by a twin-arched loggia at street level. This is made possible by having the wall of the first floor set back about six feet from the building Iine. The arch on the right leads to the arched entrance doorway, while that on the left leads directly to the basement stairs protected by a low iron railing and gate. An arched window is set above the basement entrance door.

When Andrew Carnegie purchased the land for his new home in 1898, one magazine described the area as "only one remove from goatville"-with almost half the lots on the adjacent block still empty. Rather than continue the march of millionaires up Fifth, Carnegie decided to leap more than ten blocks past the northern most mansion to the avenue's highest point. The location made sense for a man who stood apart. In an era filled with big businessmen and philanthropists- he was bigger than them all. Born in 1835 in a one-room cottage in Scotland, Carnegie became the richest man in the world. He made his hundreds of millions through the steel industry- at one point his company, Carnegie Steel, produced more steel than all of Britain. Then later in life he decided to give most the money away. This philanthropic bent, as one historian notes, paradoxically made him a more ruthless boss. Though he had once supported unions, in the mid-1880s he cut wages and lengthened the eight-hour workday to 12. And in 1892, decisions by him and manager of his steel plant, Henry Clay Frick, led to one of the bloodiest labor battles the country had ever seen. The mansion's design-overseen by Carnegie's wife, Louise- reflected Carnegie's priorities in his retirement years: family, friends, and philanthropy. He and his wife loved nature and wanted a place for their five-year-old daughter Margaret to play. So they installed a garden more than half the size of the mansion and filled it with azaleas, rhododendrons, roses, and fully grown trees uprooted and transported from Connecticut and New York State. Louise sized the dining room to suite Carnegie's appetite for entertaining. His most frequent guests were writers, statesmen, and scientists and he asked them to sign the tablecloth, which servants then embroidered. Among them were several U.S. presidents, Madame Curie, Henry James, and Mark Twain, one of Carnegie's closest friends, who regularly received whiskey form the seventy-five gallon cask Carnegie kept in his basement. The greatest attention, however, was lavished on his libraries , where he indulged his lifelong love of books. A private elevator dropped him right in from of the family library on the second floor, also called the "teak room" for its intricately carved paneling from India. There, Carnegie enjoyed reading Shakespeare, Wordsworth, and the Bible and listening to Scottish ballads and American folksongs on the Victor Talking Machine.

130-134 East 67th Street Apartment House ARCHITECT: Rossier & Wright DATE: 1907 STYLE: Italian Renaissance This building consists of duplex units of the type used on West 67th Street, although in the plan of this building many large double-story living rooms were built instead of studio spaces. So successful was the cooperative arrangement in this building, that the developer took title to the adjoining lot on the southeast corner of 67th Street and Lexington Avenue, as well as another property on the northeast corner of Lexington and 67th Street in 1907. Both of these soon were developed with cooperative apartment houses.

Century Theatre, 1930. A grand (and hulking) presence on the corner of 63rd Street, the Beaux-Arts theatre and opera house, designed by Carrère and Hastings, opened in 1909 as the New Theatre. The New Theatre produced shows for only two seasons before leasing the space to other theatre managers. The venue reopened as the Century in 1911 and by 1915 was under the management of Florenz Ziegfeld. Buoyed by the success of his roof garden venue and nightclub at the New Amsterdam in Times Square, Ziegfeld opened the Cocoanut Grove on the rooftop here. Unfortunately the theatre had too many strikes against it. And the WPA Guide to NYC was there to call it out as, describing the venue as "New York's most spectacularly unsuccessful theater" and a "Shrine of Snobbism." The locations was too far from the theatre district, the large and ornate building was expensive to maintain, and the acoustics were poor, despite efforts to improve them. In 1931 the theatre was demolished and replaced by the Art Deco Century Apartments, designed by the firm of Irwin Chanin.

Fire Engine Company 39 and Ladder Company 16 Station House ARCHITECT: Napoleon LeBrun & Son DATE: 1884-86 STYLE: Romanesque Revival This six-story Romanesque Revival structure was designed by N. LeBrun & Son for the headquarters of the New York Fire Department and to provide fire protection in a neighborhood that was experiencing considerable growth and change. Unlike many modest mid-block firehouses, the East 67th Street building served multiple functions, providing space for two fire companies, the offices of the Commissioners, and various departmental bureaux.

17-25 East 64th Street, adjoining and west of the northwest corner of Madison Avenue.

Alwyn Court, February 15, 1938. A 12-story apartment building, Alwyn Court was a ''studio palace'' co-op built between 1907 and 1909. Dreamed up by the artist Walter Russell (who would leave the project early) and developer Alwyn Ball Jr, the building was designed by the architects Harde & Short. Led by Ball's vision, the apartment house became one of the most luxurious in the city. A 32-room duplex within the building was listed at $22,000 per year. The mostly iconic feature of the building though was the intricate terra cotta facade. Created by the Atlantic Terra Cotta Company the entrance includes Gothic details while the rest is of French Renaissance styling. The building was advertised as an appropriate residential replacement for costly private homes. (Apartments were still palatial. They required less staff. And repairs were taken care of quickly by building staff!) Some of the original residents included Jacob Wertheim, president of United Cigar Stores, and Frederick Steinway, president of the piano company. Though popular in the 1910s, the building was largely empty by the late1930s. The building's owners foreclosed and the building was gutted, with 75 smaller apartments replacing to two dozen original ones, and major alterations of the facade. In the 1980s the building went through a co-op conversion. The facade, though spectacular, has required a near constant effort of regular and continual cleaning and replacing damaged sections.

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.

Emery Roth and Sons designed this 1915 apartment building at 570 Park Avenue. The twelve-story building replaced eight rowhouses on the site. Between 1932 and her death in 1947 author Willa Cather lived here with her companion, author and critic Edith Lewis.

By Margaret A. Brucia On March 10, 1921, Julia Gardiner Gayley, wrestling with seating plans for her upcoming parties, wrote to her daughter Mary from Washington Square. "I have two big lunch parties with which I am now struggling. Perhaps you would like to know who is coming. Friday I have both men and women as follows: Besides G\[ano] and myself there will be Mr. and Mrs. Billy Delano— both charming—Mr. and Mrs. Walter Maynard, Mr. and Mrs. Murray Young, Mr. and Mrs. Walter Rosen, an English painter, Mr. McEvoy coming with Rosens (she was one of the Bigelows), Mrs. Lucy Hewitt, Lucy \[Frelinghuysen], Edith Morgan, Frances Rumsey, Louise Sands, Paul Dana, Larry White, Archer Huntington, the man who gave all the Spanish museum, church, etc., to New York and whose wife ran away last year with the play writer Granville Barker. So everybody is trying to give him a nice time. I may add Frances Blodgett and Lord Carrington who she has in her train. Horne is attending to the luncheon for me with two extra men." And that was only the first of her two parties. Julie’s guests were a diverse group of architects, musicians, painters, authors and philanthropists; Protestants, Catholics and one Jew. The litany of names attests as much to the broad scope and range of Julie’s friends as to her ability to create a lively and interesting mix of people. Although each invitee had a notable backstory, Julie singled out just one for comment: the victim of a recent social scandal, around whom his friends loyally closed ranks. Who was Archer Huntington? What did “all the Spanish museum, church, etc.” mean? Why did his wife jilt him? And how was he handling the aftermath? Read this in its original format here.

Block House No. 1. This stone fort, which sits on top of the large rock, is the oldest original structure in Central Park (Cleopatra's Needle was created elsewhere and moved). It is one of a number of fortifications built in the area during the War of 1812 (and the only one that survives). Despite the threat that prompted their construction, none of the forts were used in wartime combat and they were abandoned when the war ended, soon after being built. It was later used for ammunition storage.

St. Stephen’s parish was founded in 1902 to serve the Hungarian immigrant population of the Lower East Side. With the upward migration of the Hungarian population to Yorkville, in 1928 the congregation constructed a new church, parochial school, community center, and adjoining rectory on 408 East 82nd Street. The Romanesque Revival-style building was designed by Hungarian architect Emil Szendy. The building’s inventive design combines the school and church into one structure. The church was an important and central place for the Hungarian community, and after World War II it became the center for actions directed against the Soviet Union’s occupation of Hungary. Today, the parish of St. Stephen’s has been relocated to St. Monica’s on East 79th Street, but the School is still active and popular for families in Yorkville.

Out of 150 statues depicting historic figures in New York City, only six are women. This stark inequality shines a light on gender and racial representation biases in public statues. Today, multiple groups are working to amend this imbalance. Two of these organizations are Statues for Equality and She Built NYC. This story sends us on a tour of six historic women who are honored in monuments across New York City.

55 Central Park West, ca. 1970-1990. Designed by Schwartz & Gross and completed in 1930, this apartment building is perhaps best known for it cinematic history. A location in the film Ghostbusters, the building is portrayed as a super-conductive antenna and portal to the earthly realm for Gozer (an ancient, ultra-powerful, malignant being from another dimension who was summoned to New York City to destroy the world).

Saint Nicholas Russian Orthodox Cathedral ARCHITECT: John Bergesen DATE: 1901-02 STYLE: Church The St. Nicholas congregation, which was established in 1894, met in a rented house at 323 Second Avenue until a permanent building could be erected. The purchase of the 75-by-100-foot lot, on which the present church buildings stand, was undertaken by Dean Alexander Hotovitsky on behalf of the congregation in September 1899. The lot was smaller than what had initially been sought, and it was not a corner site, but the high cost of real estate in New York limited the selection. The New York City congregation was unable to fully finance the building, so the Synod of Russia was given Imperial permission to collect money throughout the Russian Empire.

Andrew Carnegie Mansion ca. 1901 The Cooper Hewitt Smithsonian Design Museum at 2 East 91st Street is a renowned museum and institution, the only of its kind in the United States, born of a long history and connection between philanthropy and industry. The landmarked building is an exemplary bit of ornate, turn-of-the-20th-century architecture, and today we explore its history and ties to the Village. In 1898, Andrew Carnegie and his wife Louisa purchased land for their family’s home “far north” of the center of New York City and where they had previously been living. This new space would allow them a mansion of much greater size, along with a private garden. Designed by the firm Babb, Cook & Willard, the Carnegie family moved into their grand new home in 1902. The mansion put its neighborhood on the map — the lower 90s west of Lexington Avenue is still called Carnegie Hill to this day. The Georgian style Mansion boasted a modern steel-frame construction, the first private residence in the United States to use this method. It was technologically advanced, too: multiple electric Otis elevators, a fully electrified laundry, an extremely sophisticated air conditioning system capable of heating, cooling, and humidifying individual rooms, and a cellar coal car that traveled over a miniature train track to transfer fuel from a storage bin to enormous twin boilers were installed. The mansion had 64 rooms on five floors, the top of which was for servants’ quarters. There were multiple libraries, parlors, sitting rooms, bedrooms, halls, pantries, and skylights. The family library on the second floor, known also as the Teak Room, was made entirely of intricately carved Teak wood, from India or Myanmar. Andrew Carnegie spent 20 years in his mansion before he died in 1919. His wife, Louise Carnegie, remained in the mansion until she died in 1946. Louise left the mansion to the Carnegie Corporation, which leased the building to Columbia University’s School of Social Work in 1949. The school remained in its grand home until the mid-1960s. In 1966, the Carnegie Mansion was named a national historic landmark, bestowing upon it a great honor, but not protecting it from potential demolition. Like many great Historic New York City buildings in the 1960s, when tastes and uses were rapidly changing, the Carnegie Mansion’s fate was in doubt. Some worried it would go the way of Penn Station and other no-longer-used mansions, succumbing to the wrecking ball.

21-31 West 73rd Street, 1925. Image above shows the south side of the Park Royal building from West 73rd Street. The Park Royal is a 15-story red brick prewar apartment building designed by architect George F. Pelham. Built around the time of the Dakota, which is just a block south on 72nd Street, the Park Royal was of the first “apartment hotels” constructed to appeal to the wealthy, to attract people out of their downtown townhouses and to the Upper West Side. Leases in the Park Royal included full-time staff, and individual units were sprawling. To preserve the view of Central Park, developers originally purchased a row of brownstones on either side of the building to prevent construction. In 1985, the building underwent conversion into a Cooperative.

501-7 East 71st Street, at N.E. corner of York Avenue. In the foreground is the excavation for the Cornell Medical College-New York Hospital, July 31, 1930.

St. Ignatius of Loyola, 1929. The Church of St. Ignatius was dedicated on December 11, 1898 (and completed two years later). The new Schickel & Ditmar-designed edifice replaced the modest brick structure of the former St. Lawrence O’Toole Church. The parish dates from 1851, and in 1898 the congregation sought permission to change the patron saint of the parish from St. Lawrence to St. Ignatius. The Italian-Renaissance edifice, rendered in limestone, is monumental in scale while austere in character. The plans for the church originally included a pair of towers that would rise 210 feet above the street. Alas, that feature was abandoned early in the process, but the resulting copper-capped tower bases on either side of the central pediment hint at the original intent.

Majestic Apartment ARCHITECT: Irwin S. Chanin DATE: 1930-31 STYLE: Art Deco The Majestic is one of five-towered skyscraper apartment buildings which define the impressive skyline of Central Park West. Erected in 1930-31 by the Chanin Construction Company, headed by architect and developer Irwin S. Chanin, it is an excellent example of the Art Deco style in its streamlined later phase. Chanin had attended the highly influential 1925 Paris exposition of decorative arts, and returned a convert to the “modernistic” style. The Majestic was the Chanin organization’s first “experiment” in applying the Art Deco style to residential building. The Majestic successfully adjusts the city’s housing laws to the new style; its soaring twin towers are a response to new regulations enacted in 1929. Although built during the Depression, it belongs to the luxury apartment building genre of the 1920s. While the Majestic’s sparing use of ornament and simple materials reflect its date of construction, the resulting austerity is an integral part of the building’s stylistic imagery

St. Ignatius Parochial School, ca. 1905.

Alwyn Court Offering a complete contrast to many contemporary buildings which are totally devoid of ornament, this structure has scarcely one square inch of surface which is not decorated. The salamander, symbol of Francois I, is much in evidence, and most of the ornament here employed is that borrowed from Italy during the early phase of the French Renaissance.

The Harlem line railroad tracks, then operated by the New York Railways Corporation, as seen from the northeast corner of Park Avenue and East 100th Street. Today the buildings on the western side of Park Avenue have been replaced by the NYCHA George Washington Carver Houses.

The Metro Theater (formerly Midtown Theatre), ca. 1994. This landmarked, Depression-era theater has since closed, and, as of March, 2016, is slated for retail conversion. The Midtown Theater was completed in 1933, replacing the seven-story tenement building which had occupied its site. Described by the Landmarks Preservation Commission as “a rare surviving small Art Deco style neighborhood movie theater” with “one of the finest facades of its type in New York City,” it recalls a specific era of theater construction, when 1930s austerity led developers to eschew the grand theater architecture of the previous decades. In Edmund Vincent Gillon’s 1994 photo, the marquee advertises showings of “The Client,” a legal drama starring Tommy Lee Jones, Susan Sarandon, and Brad Renfro.

Henry H. Cook Mansion, ca. 1900. In 1883, Henry Cook, a railroad millionaire, purchased the entire block between Fifth and Madison Avenues and 78th to 79th Streets. His plan was to preserve a particular type of neighborhood (read: not stables, tenements or the wrong type of people). He divided the block into single-family lots and wrote in deed restrictions that were severely limiting. In the 1890s, slowly and with purpose–to create a block of homes occupied only by the types of families he would want to be surrounded by– he sold the lots. Before selling the surrounding lots, he had built for himself a massive mansion on the corner of Fifth Avenue and 78th Street. The mansion was extravagant, with a $15,000 Italian fireplace and mantel and oak paneling that cost $55 a section. The exterior was a layered pile of white, blue and red granite. Cook would die in 1905 and in 1909 his estate sold the building to James Duke. It was a wedding present to his new wife. Duke considered renovating the mansion, but ultimately decided to demolish it and built a new house. Supposedly the contractor hired for the demolition called the mansion “the best-built house ever torn down in New York City.” (Though it is unlikely the contractor survived to mid century to see the wave of grand homes razed prior to the Landmarks Law.)

Residence of Judge Elbert H. Gary, 1927 Like many of Candela's buildings, 856 Fifth Avenue was built on the graves of the mansions that came before it, including Judge Gary's mansion and some adjacent buildings were torn down to build Candela's 856 Fifth Avenue. The Gary mansion had stood on the site for only 15 years. Gary's widow moved into the apartment house at 856 Fifth upon its completion in 1928.

St. Jean Baptiste Church, 1913. The parish of St. Jean Baptiste dates to 1882 when it was founded to serve the long -established French Canadian immigrant population of the Yorkville section of the Upper East Side. The community first worshiped in the hall above a stable on East 77th Street, referred to as the “Crib of Bethlehem.” A purpose-built church was erected between 1883 and 1884 in a simple Gothic style. The church became both popular among the larger Catholic New York community and the home of eucharistic worship in the decades surrounding the turn of the century. The community recognized the need (and desire) for a larger and more "worthy" (in pomp and decoration) structure and their prayers were answered with the entrance of a benefactor in 1910. Financed by American tobacco, insurance and transportation tycoon, Thomas Fortune Ryan, the present church building was designed by Nicholas Serracino, an Italian architect, and completed in 1913. The domed church (one of only a few Catholic churches in the city that feature a dome) was rendered in a combination of Italian Renaissance Revival and Classical Revival architectural styles. The main dome reaches a height of 172 feet. The interior is richly decorated with stained glass windows brought in from the glass studios of Chartres, Frances.

Parkway Hospital, August 3, 1928. The Parkway Hospital, a private 70-bed facility on the north side of Central Park, opened to the public on January 5, 1929. The West 110th Street building became the Italian Hospital during the 1950s. In 1973, Italian merged with Columbus Hospital, creating the Cabrini Medical Center and shifting care to a new facility in Gramercy Park.

Hotel St. Moritz, 1932. The Hotel St. Moritz (seen at center) was designed by Emery Roth and constructed in 1930. The 36-story hotel is highly ornamented at the base and the upper floors, while the middle of the building is largely plain. W. Parker Chase described the hotel in his book, "New York, The Wonder City, 1932", "a picturesque cliff, amidst towering trees to the north, and other soaring skyscrapers to the south." Named for a Swiss resort town, the hotel offered long-term and short-term residence. It quickly became a popular hotel among professional athletes and theatrical figures. In the 1930s the hotel add the Café de la Paix, a sidewalk cafe that claimed to the be city's first. In 1950 the hotel underwent a complete redesign and renovation, updating the interiors to a mid-century style. The hotel's Rumpelmayer’s Café offered guests and visitors pricey coffee and ice cream. The hotel was sold a number of times in the last decades of the 20th century with its owners including Harry Helmsey and Donald Trump. Trump had plans to encase the facade in glass, gut the interiors, and convert it to condos. That plan was thwarted by a new buyer in 1999. Changing hands a few times once again, the building was finally purchased and converted into a Ritz-Carlton hotel-condominium. During this conversion the deteriorated ornamentation at the topmost floors were stripped and replaced with copies of the originals. Though the windows replacement was non-historic, the conversion was generally historically sympathetic (for a non-landmark building).

John B. and Caroline Trevor House ARCHITECT: Trowbridge & Livingston DATE: 1909-11 STYLE: French Smoothly finished limestone faces the handsome five-story house which is crowned by a mansard roof. The rusticated ground story acts as a base to set off the upper stories. A cornice slab supported on brackets crowns the entranceway with its dignified carved door. When open it reveals an elegant vestibule with classical details and a glass and wrought-iron inner door. Three deeply recessed high round-arched windows set with radial voussoirs and keystones emphasize the second floor and add to the elegance of the facade. The French casement windows open onto a ledge protected by delicate wrought-iron grilles.

W.C. Whitney Drawing Room ca. 1899-1900 William Collins Whitney spent more than $1,000,000 renovating the Fifth Avenue and 68th Street home that he shared with his second wife. Under the mastery of renowned architect Stanford White, this 1896-to-1899 project resulted in one of New York's most sumptuous Gilded Age interiors.

Northern Renaissance Revival row houses on Lexington Avenue, now part of the Hardenbergh/Rhinelander Historic District; August 13, 1937. In the late 19th century, the family of William C. Rhinelander set about developing their parcels of land on Manhattan's Upper East Side. The four row houses pictured, part of a set of six at the northwest corner of Lexington Avenue at East 89th Street, were designed by architect Henry J. Hardenbergh and completed in 1889. Andy Warhol purchased No. 1342 Lexington (second from left) in 1960. Warhol lived in the building, as did his mother, until her death in 1972, after which point it was leased to an associate.

The architects demonstrated their appreciation for the organization that characterizes Beaux-Arts planning in their adaptation of the Central Savings Bank’s great banking hall and its accessory spaces entrance vestibules, foyer, stairways, and mezzanine passages and loggia, to the bank’s irregular four-sided site. The Central Savings Bank’s interior displays the architects’ skill in manipulating scale to create effective transitions between successive spaces.

The Braender apartment house, ca. 1910. The Braender, named for its German-born developer Philip Braender, is a ten-story apartment building designed by Frederick Browne and completed in 1903. Architecturally, the Braender incorporates a variety of influences into what the New York Times calls a “complicated, even chaotic mix of French Renaissance, Spanish and Baroque styles.”

240 Central Park South ARCHITECT: Mayer & Whittlesey DATE: 1939-40 STYLE: Art Deco This is a significant and innovative complex that represents the transition between 1930s Art Deco style apartment towers with courtyards (characteristic of Central Park West) and post-World War II “modernist” apartment houses. The architects were particularly skillful in adapting their plan to a highly prominent and complex site, with frontages along Central Park South, Columbus Circle, Broadway and West 58th Street. The complex consists of a 20-story, C-shaped-in-plan building (with an 8-story tower), facing Central Park, connected by ground-story lobbies and rounded shopfronts (following the diagonal of Broadway) to a 15-story building to the south.

Architect Robert AM Stern designed this townhouse from an existing 1897 carriage house in 1975, when he was just starting his career as an architect. What began as one of three private stables was converted into a 10,000-square-foot townhouse. Unfortunately, a fire destroyed the 70’s interior in 1992. Of the design, Stern told Metropolis magazine: “The design has what I thought were pretty daring \[features] in those days— classically derived pilasters and proportions with ornaments…all of which I think fall into the Postmodern sensibility that was emerging at the time.”

York Avenue - 74th Street, looking northwest, 1934. This corner of mostly empty storefronts and apartments on the upper floors would not survive long after this photograph was taken. In 1939 a Norman Gothic style church was erected on this corner for a congregation with a long New York City history. The Church of the Epiphany was established in 1833 as the first church of the New York Protestant Episcopal City Mission Society. The parish, which began in a small room on the Lower East Side, had their first church building at 130 Stanton Street. Through various moved and mergers with other parishes the church had services in locations on 47th and 50th Streets, as well as Lexington Avenue. The current church building was constructed around the time that the nearby hospital facilities were also being built. The architect of the church, Marion Sims Wyeth of the firm Wyeth & King, is perhaps currently (2017) best known as the architect of Mar-a-Logo. This Florida mansion built by socialite Marjorie Merriweather Post as a winter retreat for presidents was purchased in 1985 by Donald Trump and has been used in 2017 by the 45th president.

Congregation Orach Chaim at 1461 Lexington Avenue, 1927. Founded in 1879, the Orthodox congregation’s synagogue opened in its present location in 1907.

Webster Branch, November 20, 1928. Constructed in 1906 to the designs of the architectural firm of Babb, Cook & Willard, the Webster Branch of the New York Public Library became an important community hub for the neighborhood's large Czech population. The library provided Czech newspapers and magazines, children’s story hours in Czech, a location for Bohemian Club meetings, and exhibition space for cultural displays.

Mansion at 15 East 84th Street, August 19, 1949. This extra-wide 84th Street mansion was constructed in 1899 for Adam Lanfear Norrie, a business executive and the son of Scottish-born high society financier Gordon Norrie. The original mansion, designed by architect and James Renwick protege J. Lawrence Aspinwall, was substantially altered in the late 1920s, after it was acquired by New York Herald Tribune editor Ogden Reid. The Italian Renaissance facade visible today dates to this renovation. The mansion was acquired by the Leon Levy Foundation in 2004. The property was included in a 2006 gift to New York University for the establishment of the Institute of the Study of the Ancient World.

Dakota Apartments, ca. 1975. Considered the city’s first luxury apartment building, the Dakota Apartments were constructed between 1880 and 1884 and designed by Henry Janeway Hardenbergh for the real estate investor Edward Clark. The imposing German Renaissance style structure was an architectural revelation at the time when the Upper West Side was largely barren, far from the bustling downtown centre of New York City at the time. At eight stories, with 65 apartments (no two of them alike), the building featured a number of desirable and innovative amenities meant to lure prospective tenants who were unaccustomed to the idea of luxurious multi-family buildings. (Rich people in early 19th century New York lived nearly exclusively in single-family private mansions.) Some of these comforts included apartments of up to 16 rooms, newfangled service elevators, and uber quiet living spaces created by heavy interior partitions and double think concrete floors. The Dakota was long thought to be the “most famous apartment building in New York City,” (though perhaps that superlative has changed in the era of the supertalls, like 432 Park). It was well-known as the home of celebrities, most notably John Lennon and Yoko Ono. The Dakota is also a major plot device in the 1980 novel "Time and Again," in which the building proves to be a portal for time travel to historic New York.

Mayor John Purroy Mitchel Memorial, Central Park Reservoir, ca. 1975. This bronze bust was designed by the prominent German-born sculptor Adolph Alexander Weinman, honoring Mitchel, New York's 95th Mayor. The Bronx-born politician served a single term at City Hall, notable for police reforms and an assassination attempt in April 1914. Mitchel, viewed as too cozy with the city's upper crust, failed to win re-election, losing in the Republican primary. Out office, Mitchel enlisted in the Army's Air Guard but died in a training flight accident over Louisiana. The former mayor fell from his airplane when it entered a sudden tailspin; his seatbelt had not been fastened.

The McGown's Pass Tavern was built in 1883-1884 and served refreshments to Central Park visitors for the next 30 years. Originally called the Mount St. Vincent's Hotel (after an earlier establishment), the first proprietor was Patrick H. McCann, brother-in-law to a Tammany Hall boss. Supposedly McCann lost his lease on the business in 1890 after refusing to provide Tammany men free entertainment (a capital offense to the presumptuous and overly indulged political machine leaders). The Tavern closed in 1915, its furnishings sold at auction, and the building razed.

Vincent and Helen Astor House ARCHITECT: Mott B. Schmidt DATE: 1927-28 STYLE: Neo-Classical Reflecting the neo-Classical style of Robert Adam, one of the foremost English architects of the eighteenth century, this formal residence of austere elegance is five stories high with basement and sub-basement. It is one of the most successful houses designed by a very gifted architect. Constructed of ashlar masonry of Roche limestone imported from France, the facade has a flat, low relief quality resulting from the slight variation in depth between the surface of the wall and projecting planes of the decorative elements. There is an absence of deep shadows, and the architect has deliberately used understatement in expressing the true refinement to be found here.

New-York Historical Society STATUS Designated Individual Landmark ARCHITECT: York & Sawyer DATE: 1903-08 The facade is divided into very severe end pavilions bounding and containing a colonnaded central section which, though treated with great discipline, is nobly ornamental. At the second floor level, a wide horizontal band course runs around the entire building, creating a ledge in the slightly recessed central portion of the structure. Resting on this ledge, and of great compositional importance, are the eight three-quarter engaged Ionic columns of the colonnade. These support a cornice which, apart from the handsome bronze grille-work of the large side windows, is the only element of the building which may be said to be richly ornamented. The pedimented heroic size main portal on Central Park West makes a very grand entrance to the building.

All Angels Episcopal Church was established as a parish in the 1830s as a mission-focused church serving the community of Seneca Village, a free black neighborhood that once stood in what is now Central Park (that also included poor Irish and German immigrants as well). In the late 1850s, the church moved to West End Avenue and 80th street after their former location was condemned by the city for the creation of Central Park. The grand church seen in this interior image was completed in 1890. In 1896 Karl Bitter, the Austrian-born American sculptor, renovated the church's interior. The church featured a two-and-a-half-story Tiffany window and a pulpit ringed with limestone angels. The congregation occupied the late 19th-century church until 1979 when it was demolished for an apartment building. Today the community worships in what was the parish house at 251 West 80th Street. The Bitter-designed pulpit was saved from demolition and is now in the collection at the American Wing at the Metropolitan Museum of Art.

“The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.” 🏙️

55 East 72nd Street, 1943.

Elbridge T. Gerry Residence, 1901. Designed by renowned architect Richard Morris Hunt, the Elbridge Thomas Gerry residence (1891-1894) on the southeast corner of Fifth Avenue and 61st Street was built for Gerry and his family. Gerry, a prominent lawyer and philanthropist, eventually gave up his law practice to devote his time to the New York Society for the Prevention of Cruelty to Children, a charity he helped establish in 1874. The house was demolished in 1927, the year of Gerry's death, and replaced by the Pierre Hotel, completed in 1930.

The Swedish style building seen here in Central Park arrived from Scandinavia in 1876 as Sweden’s exhibit for the Centennial Exposition in Philadelphia. Following the close of the fair, Central Park planner Frederick Law Olmsted brought the structure, which was modeled on a schoolhouse, to the park. Similar to often structures in Central Park, the Swedish Cottage has hosted a number of tenants and functions. In its first 75 years, it was home to a tool house, a library, and Central Park's entomological laboratory, as well as headquarters for the Civil Defense during World War II. In 1947, the quaint building became the home of the Marionette Theater. From that time to the present day the marionette performances both here and in schools around the city have delighted generations of New York children.

On June 30th, 1836, invitations were sent to various gentlemen of good social standing – Astors, Van Cortlandts, Stuyvesants, van Rensselaers, basically a roll call of every influential Dutch New York family – to join the newly founded Union Club, the first club devoted to wealth and social standing in New York. For decades it set the tone for every other club. As you can probably guess, the Union Club became very popular, very quickly and there was soon a waitlist to join. Their current clubhouse on Park and 69th, designed by William Adams Delano and Chester Holmes Aldrich and pictured below, was described by Christopher Gray as, “chunky with rusticated limestone and a huge angled mansard roof so big it looks like a Fifth Avenue mansion gone wild.” With five dining rooms and humidors stocked with cigars, it’s clear that the Union Club is still catering to the wealthy and connected of New York.

Shearith Israel Synagogue ARCHITECT: Brunner & Tyron DATE: 1896-97 STYLE: Neo-Classical This synagogue is a striking example of the monumental neo-Classical style, popular at the turn of the century for public and ecclesiastical architecture. The imposing front facade facing Central Parle West is composed of four large, engaged Composite columns that embrace three round-arched openings, enclosed by elaborate bronze gates, and three round-arched windows with balustrades. The openings, which produce the effect of a loggia, lead into a porch containing the two primary entrances which are located at either side. The front columns are surmounted by an entablature with a modillioned cornice, which is also found above the two smooth ashlar surfaces flanking this central area. Above the entablature is a high attic with smooth-faced pilasters, positioned to correspond with the columns. They enframe panels with classical wreath motifs.

The young men's club opened in March of 1930, costing a grand 3,250,000 dollars. According to a New York Times article from March 30th, 1930, "the boys' department contains several novel rooms including a forge and workroom and a "Totem Room," which will house a large original Alaskan totem pole." The log cabin was part of this set of novelties, which also included a "Pirate Ship's Cabin," of which we can only imagine. Of the more typical fixtures of a recreational facility, the building also housed three gymnasiums, two swimming pools, twenty large entertainment and activities rooms, a technical school, theater, and dormitory of 600 rooms. The branch reportedly had around 14,000 members.

Hydrant at 1181 Fifth Avenue, on the northeast corner of East 99th Street

Beacon Theater ARCHITECT: Walter A. Ahlschlager DATE: 1927-28 STYLE: Greek, Roman, Renaissance, Rococo The Beacon Theater is a lavish space with stylistic effects drawn from the traditions of Greek, Roman, Renaissance, and Rococo architecture. The rotunda lobby, whose design echoes that of the now-demolished Roxy Theatre, was designed to contrast with the low-ceilinged ticket lobbies and create “the spell of the theater.” The auditorium is rich with exotic and decorative effects including vast murals. The Beacon Theater was designed with technical and stage features which now allow it to function as a multi-purpose performing arts center

Northeast corner of 87th Street and Lexington Avenue, October 13, 1911.

Three-story frame structures, southwest corner of 1st Avenue and 75th Street, 1935. Charles Kosches was a furniture store that had locations uptown as well as on 14th Street and st Avenue.

The Century apartment building, 1936. The Century towers, which take their name from the theater which previously occupied the site, are an Art Deco apartment complex designed by architect Irwin S. Chanin and completed in 1931.

“1215 Park Avenue, adjoining the S.E. corner of 95th Street. This and its neighbors will be standing in 1935. About 1912.” Indeed, 1215 Park Avenue (once home to the writer Joan Didion) and its neighbors are still standing in 2016.

160 East 92nd Street ARCHITECT: Unknown DATE: 1852-53 STYLE: Greek Revival, Italianate A rare surviving remnant of the early years of the village of Yorkville, the 160 East 92nd street House (1852-53) is a two-and-a-half story vernacular clapboard dwelling which displays elements of the Greek Revival and Italianate styles. One of the oldest of the few intact nineteenth-century wooden houses which remain in Manhattan north of Greenwich Village, it dates from a period in which many of the houses on the outskirts of the city were of frame construction (prior to the implementation of an overall ban in Manhattan, due to fire hazards). It was probably built by Albro Howell, a carpenter and builder who lived next door and was active in developing the block.

My Archive Spring 2019

Using Google Street View if you drop yourself into New York City, there is a very high chance that you will come across scaffolding over sidewalks. Also known as sidewalk sheds, these can be seen all over the five boroughs. Scaffolding has always been there across the entirety of New York City, but we don’t really know why and what is the purpose of scaffolding. Scaffolding in New York City is 400 miles long, which protects pedestrians from falling bricks and provides shelter when it rains. However, scaffolding destroys city landscapes and leads to other safety concerns, especially when walking at night. Some scaffolding covered the buildings over ten years, which also led to the fact that people never actually get a chance to see the entire design of the building. A misconception surrounding these sidewalk sheds is that they are up because of all the constant new developments in the city. The truth is far from this. To understand why almost every street in New York City looks like this we have to go back to 1979 when Grace Gold, a freshman at Barnard College in Columbia University was killed by a falling piece of masonry. The city responded to this by passing Local Law 10 in 1980 which was later amended by Local Law 11 in 1980 which required buildings over six stories tall to have their facades inspected every five years. If they fail inspection, the building owner is required to repair the facade, and in the meantime install a sidewalk shed to protect people from falling debris. The problem is, the law isn’t working as intended. Buildings fail inspection all the time and that is primarily because New York is chock full of buildings whose exterior masonry was done decades if not centuries ago. Repairing the facades of these buildings is very expensive. But here is what isn’t expensive, indefinitely leaving a sidewalk shed up. For most building owners it is cheaper to just leave the shed up, pay the occasional fine, and hope residents don't mind paying $3,000 a month to live in a building they’ve never seen. So that's exactly what they do. That's why a building like 409 Edgecombe Avenue in Harlem has had its sidewalk shed up for over 15 years.

New York Academy of Medicine ca. 1927 A group of respected physicians founded The New York Academy of Medicine in 1847 to provide a voice for “the advancement of the art and science of medicine, the maintenance of a public medical Library, and the promotion of public health and medical education." As an advocate for modern ideas in medicine, the Academy was an important part of improving public health and sanitation as well as documenting the city's populace, particularly births and deaths (leading to the eventual formation of the Medical Examiner’s Office). Though it has occupied multiple buildings during its lifetime, including the old Sherry's Hotel (10 West 44th Street) and 15 West 43rd, it is now housed on Fifth Avenue and 103rd Street. Its current home, to which it moved in 1926, was designed by York and Sawyer. The style of the building is eclectic, incorporating Byzantine Revival and Lombardian Romanesque elements. Notably, inscriptions and mythological figures and animals relating to medicine adorn its walls. The building's library remains one of the most significant collections of medical and public health records in the United States, encompassing everything from papyri on surgery to Sigmund Freud's original writings to a prototype for George Washington's dentures.

Temple Emanu-El Temple Emanu-El was established in 1845 as New York City’s first Reform congregation. 33 members met in a loft at the intersection of Clinton and Grand Streets on the Lower East Side. As the congregation grew, Emanu-El moved further and further uptown. In 1854, it moved to its third location at 110 East 12th Street, which later housed St. Ann’s Roman Catholic Church. By 1868, the congregation had built a permanent structure on Fifth Avenue and 43rd Street, designed by Leopold Eidlitz and Henry Fernbach. Much fanfare surrounded its consecration on September 11, 1868. The following day, The New York Times reported that a limited number of tickets available for the ceremony sold out several days in advance. “The anxiety to secure them was very great. When the doors were opened there was a crushing and crowding in which ladies’ crinoline and gentlemen’s hats suffered severely.” Over time, however, the neighborhood became increasingly commercial and Temple Emanu-El was unable to expand to accommodate its growing membership. In 1925, Temple Emanu-El sold the building and purchased property at Fifth Avenue and 65th Street, the site of the John Jacob Astor mansion. Construction of the new temple at the site of the Astor mansion began in 1927 and would last two years. Architects Robert D. Kohn, Charles Butler, and Clarence Stein designed the building. In the meantime, services were held 11 blocks uptown at Temple Beth-El, another Reform synagogue. On January 10, 1930, 2,500 people attended Temple Emanu-El’s formal dedication at 1 East 65th Street, where it remains to this day.

This beautifully detailed Romanesque Revival structure was designed in 1893 by the architects Fowler and Hough, whose other Romanesque Revival work includes the 23rd Regiment Armory on Bedford Avenue in Brooklyn. The First Hungarian Baptist Church was a community space even before it was a church. The building at 255 East 80th Street was originally home to an Industrial School for the American Female Guardian Society, an organization founded in 1849 to assist working women by offering necessities like food and clothing, as well as vocational and educational training. When the New York City Baptist Mission Society purchased the building in 1918, with the vision to spread Christianity throughout the city, it focused on the Hungarian immigrant population in the area. That year, First Hungarian Baptist Church opened on the building’s first floor, and accommodations for the pastor were made on the second floor. At the time, many of the Hungarian immigrants in Yorkville were young working women. In an effort to provide safe lodging for those women, and a link to the community for those who had come to the United States alone, the Baptist Mission Society transformed the Industrial School’s third-floor classrooms into bedrooms for girls and created the Hungarian Girls Club. In 1957, the ownership of the building was transferred to the First Hungarian Baptist Church, which retains ownership of the building today. The community spirit still survives at First Hungarian Baptist, where services and events are still offered in Hungarian.

Thanksgiving—comfortable or contentious, there are some things we've come to expect from this day each year. Whether it's the presidential turkey pardon, watching the big game, or eating too much, many families have time-honored traditions and individual ways to celebrate. One of these is The Macy's Thanksgiving Day Parade! This Story is an abbreviated version, the original can be viewed here.

151 East 74th Street, 1943. The brownstone rowhouse at no. 151 was constructed between 1877 and 1878 by architect John B. Snook for speculative developer W.H.Browning. Between 1919 and 1922, the home was owned by Captain Kermit (!) Roosevelt, son of TR. While a fourth story (not visible on the front facade) was added in 1906, the building underwent a drastic facelift in 1923. Then owned by New Yorker Magazine co-founder and publisher Raoul H. Fleischmann, the facade was updated to a sleek Colonial Revival style by architect Henry Lion. This move was in line with the popular practice in the 1910s and 1920s of updating New York's aging rowhouses. While some respected the styles and ornamentation of the decades old homes, many other drastically altered the look of the facades (and the interiors as well). The most common changes included removing the now passè stoops in exchange for ground floor entrances, discarding the window and door surrounds, and striping the facades of any Victorian adornments in favor of Colonial Revival or Mediterranean styles. (For more on this trend check out Andrew Dolkart's “The Row-House Reborn: Architecture and Neighborhoods in New York City, 1908-1929.”) The home had one more well-known resident. In 1955, actor Henry Fonda purchased no. 151 from Fleischmann. Two years later he wed a 23-year-old Italian countess Afdera Franchetti in a ceremony in the home. Although that marriage only lasted four years, Fonda resided in the nearly 6,000-square-foot house until his death in 1982.

1071 (second from the corner) In 1943, the Museum of Non-Objective Painting commissioned Frank Lloyd Wright to design its new home. Three years later the museum purchased a townhouse at 1071 Fifth Avenue. With the new building delayed by 1948, the museum moved into the Beaux-Arts former residence. While here in 1952 the museum was renamed after its founder, Solomon R. Guggenheim. The collections were moved out of the building (the Guggenheim archive has a great short clip of the move) in 1956. Soon after the townhouse and its neighbors were razed and ground was broken in August of the same year for the new building. The iconic museum finally opened to the public in October 1959, after more than 15 years of planning and the death of its architect only a few months before.

The Percy R. Pyne House, ca. 1978. One of four adjacent neo-Georgian Park Avenue Mansions, the stately residence at No. 680 was designed by McKim, Mead & White for the financier and philanthropist Percy Rivington Pyne II.

Greek Orthodox Church of St. John the Baptist, 1930. This church building, which according to the photographer's notes was once a synagogue, has had some major facade alteration since this image was taken. The circular windows have been made rectangular, the stairs now sit snug up against the building and flat roofline cornice has been removed.

856 Fifth Avenue ca. 1929 With its smooth stone facades and flush windows rising above a three-story rusticated base, 856 Fifth Avenue was one of architect Rosario Candela's most elegantly severe designs. The building initially comprised nine single-floor apartments, two two-story maisonettes, and a penthouse duplex of 18 rooms. Interior decorator and style maven Dorothy Draper served as consultant on the building's plans and decorations.

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.

Russian Tea Room, c. 1935. The Russian Tea Room opened in 1927 as an after-hours hangout for the Russian Imperial Ballet and other ex-patriots. The restaurant, with an elite club-like atmosphere, was supposedly founded by a Jacob Zysman though 1929 records list dancer Albertina Rach as its president. The room opened at 145 West 57th Street but moved across the street to 150 West 57th Street after a short while. Before the tea room, this property was an Italianate brownstone residence owned by John F. Pupke. Originally, the building had a stoop occupying the ground floor, though this was removed in 1919 when an automobile showroom moved in. A 1988 issue of the New York Times called it a "brownstone peanut," compared to its towering modern-day neighbors. Kitty-corner of Carnegie Hall, the restaurant was known for its colorful clientele. A pamphlet for the establishment stated, "for more often than not the artist will come to the Russian Tea Room Restaurant straight from the performance, flowers and all." A Siberian émigré, Alexander "Sasha" Maeef is credited as orchestrating this lush environment. He took over the business from 1933 until 1946. In these formative years, patrons could find Russian luxuries like caviar on blini, chicken kiev, and pelmeni. Maeef sold the restaurant to first-generation Russian-American Sidney Kaye, who cloaked the establishment in the kitschy themed rooms that still exist today. Only the facade received a re-do in 2000 that divorced it from its brownstone past. The Russian Tea Room closed in 2002 but re-opened in 2006 with no visible update. Over the years, it has been visited by Michael Douglas, Mikhail Baryshnikov, Woody Allen, Mel Brooks, Jackie Kennedy, Anne Bancroft, Barbara Streisand, and Dustin Hoffman.

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.

2100 Broadway ARCHITECT: York & Sawyer DATE: 1926-28 STYLE: Neo-Italian Renaissance The design of the Central Savings Bank is six stories high including the monumental story of the banking room, and it is faced with exceptionally handsome blocks of rusticated limestone. As a freestanding building, it is visible from all four sides, and three sides are accented by the tall arched windows which light the main banking room. The Central Savings Bank is one of the outstanding neo-Italian Renaissance buildings in New York City. It is exceptionally well adapted to the shape of its site. Its dignified exterior and great windows are expressive of the bank for which it was built.