Hall of Records, ca. 1935. Built as the Hall of Records (to replace the old and decrepit Hall of Records in City Hall Park), the ornate Beaux Arts building was constructed between 1899 and 1907. Architect John R. Thomas had actually won the commission for a new City Hall building in 1896. When the state legislature decided that the city was not permitted to replace the old City Hall, Thomas adapted his design for a new Hall of Records. He would, unfortunately, not live to see the completed building. Thomas died in 1901 and the firm of Horgan & Slattery took over the project. The completed building was an impressive civic structure, very much in line with the in vogue "city beautiful" movement. Entered through a triple arched entrance with eight, thirty-six foot high granite Corinthian columns above, the building is also topped with a grand mansard roof. Though the Surrogate's Court was one of the original tenants of the building, it wasn't until 1962 that the structure was renamed the Surrogate's Courthouse (though the Department of Records is still housed there as well). Both the interior and the exterior of the building have been designated New York City landmarks.

On October 12, 2021, Municipal Archives digitization specialist Matt Minor presented an illustrated history of the Surrogate’s Court for DORIS’ “Lunch and Learn” program. As he reminded the audience, the original name of the building was the Hall of Records. It was the first purpose-built records hall for the City. The following is a condensed version of his talk. The original format of this story can be found here along with other excellent blogs.

Did you ever wonder about how historic City records make their way to the Municipal Archives? Did you assume that all the documents, photographs, maps, ledgers, plans, etc. in the Archives had been dutifully maintained in their “creating” City offices, and then carefully transferred to their permanent home at 31 Chambers Street?

Surrogate’s Court (Hall of Records) ARCHITECT: John R. Thomas; Horgan & Slattery DATE: 1899-1907 STYLE: Beaux-Arts This building was planned as a magnificent architectural symbol of the prosperity, importance, and achievement of New York City. The opulence, grandeur, and lavish decoration of the interiors are highly characteristic of the Beaux-Arts style. The main lobby, a vast and imposing architectural space, is one of the most splendid interiors in New York City. The magnificent mosaics of the ceiling in the foyer and vestibules are indicative of the high degree of artistic attention lavished on the building. The North and South Court Rooms on the fifth floor are unusually splendid. The building continues to play a vital role in City government as the Surrogate’s Court and Hall of Records.

Oy! 2020 has been a whirlwind, but we sure made a lot of interesting discoveries along the way. Here's a round-up of our partners' favorite historical photos and finds from the year. More to come over the next few weeks!

Across Chambers Street from City Hall Park is the 10-story granite Hall of Records. The richly sculpted exterior of this city government building is an example of "Beaux-Arts Classicism," a name derived from the Ecole des Beaux-Arts in Paris where many American architects pursued an elite education. Originally the architect John R. Thomas's design for the Hall of Records was the winning entry in a competition to replace City Hall. His design was adapted for this site and program after the project to rebuild City Hall became mired in political dispute. On the Chambers street façade is a spectacular three-story Corinthian colonnade, topped with the figures of mayors, administrators, and governors of New York and New Amsterdam. The interior, accessible to the public, is truly spectacular. The foyer has a mosaic tiled ceiling decorated with a pseudo-Egyptian theme, as well as four monumental bronze eagle-topped radiator grills. The three-story main hall, which is surrounded by staircases and hallways and clad at its height in a golden marble, is a work of baroque theatricality.

A walking tour through Lower Manhattan's skyscraper canyons and more than a century of high-rise construction. This walk focuses on the buildings around City Hall. This story is adapted from the Skyscraper Museum's "Ten Tops" exhibition.

The Public Design Commission (PDC) was established as the Municipal Art Commission by the New York City Charter in 1898 (following the consolidation of NYC). The Commission was tasked with the oversight of all public artworks and monuments, but its purview quickly expanded to include public structures and open spaces. Renamed in 2008, the PDC reviews the design of permanent works of architecture, landscape architecture, and art proposed on or over City-owned property. Projects are submitted by City agencies and include the construction, renovation, or restoration of buildings; the creation or rehabilitation of parks, playgrounds, and plazas; installation of lighting and other streetscape elements; signage; and the installation and conservation of artwork, including monuments and memorials. The Commission also acts as caretaker and curator of the City’s public art collection, which is located throughout the city’s public buildings and open spaces, and maintains an extensive archive documenting the history of New York City's public works. The PDC Archive maintains a collection of projects reviewed by the Commission since 1902, documenting more than 7,000 sites throughout New York City and providing a unique view into the history of the City’s public works. The designs that have been reviewed by the PDC throughout its over 120-year history are representative of the policies and focus of Mayoral administrations while simultaneously following historical trends in public design, public health, and artistic and cultural movements in the city and country at large. The following examples illustrate the breadth of projects under the PDC's purview, from large scale developments to streetscape fixtures that often go unnoticed. For an in-depth history of the Public Design Commission, see Michele H. Bogart’s book, "The Politics of Urban Beauty."

Manhattan Company Reservoir, 1855 The Manhattan Company Reservoir opened on Chambers Street in 1801. Rather than following a more costly plan to bring water from the Bronx, the Manhattan Company cut corners, using ground wells with risk of contamination by sewers, all supplied by the polluted Collect Pond nearby. Wooden mains made of pine logs supplied water to the area via principal streets, which risked freezing in winter or damage by tree roots. While the company promised a one-million gallon reservoir to support the city’s growing population, it delivered one 10% of the size. The reservoir was razed in the early 20th century, following the opening of the Croton System.