The Century at 25 Central Park West

May 03, 2020 by Pamela Ajhar in Architecture

Can you name the four twin-towers of Central Park West? Beginning from the North, they are the Eldorado at 90th-91st Street, the San Remo at 74th-75th, the Majestic at 71st-72nd and the Century at 62nd-63rd.. These hi-rise towers, built between 1929 and 1931, transformed the skyline of the Upper West Side by more than doubling the height of all the existing buildings. They came about as a result of the Multiple Dwelling Law passed by the New York State Legislature in 1929. This law mandated an increase in yard and court area, but allowed residential buildings to rise higher than before, legalizing setbacks and towers that could span up to three times the width of the street on plots over 25,000 square feet. The last of these four buildings to be erected was the Century, constructed by the Chanin Construction Company, one of NYC’s leading builders and pioneers in the design of Art Deco buildings in America.

Irwin S. Chanin graduated from Cooper Union in 1915 with a degree in Civil Engineering and began his career as a builder and developer with his brother, Henry. Some of their early notable buildings include: the Fur Center Building (1924), the Chanin Building (1927) and the Lincoln Plaza Hotel (1928 - now Row NYC Hotel), all located in midtown Manhattan. They were also very prolific in the development of theatres. Beginning in 1925, they hired architect, Herbert Krapp, to design six Broadway locations, the 46th Street (now the Richard Rodgers Theatre), the Biltmore (now the Samuel J. Friedman Theatre), the Mansfield (now the Brooks Atkinson), the Masque (now the John Golden Theatre), the Royale (now the Bernard B. Jacobs Theatre) and the Majestic Theatre. They also built several movie theaters including the Beacon Theater on Broadway and 74th Street which was restored in 2009 and is now one of New York’s leading live music venues currently under the management of Madison Square Garden.

In 1929, the Chanin Construction Company purchased the entire city block bounded by Broadway, Central Park West, West 62nd and West 63rd Street. The site included the Century Theatre (1909) on Central Park West, Daly’s Theatre on 63rd Street and an apartment house and two garages on Broadway. As part of the agreement to acquire the Century Theater, which was then owned by the Schubert Organization, the Chanins were forced to sell them their interests in the Royale, the Masque and the Majestic Theatres.

The Century Theater

The Century Theater being demolished

The original plan to build a 65-story skyscraper quickly fell apart and it was decided that a second Art Deco inspired twin-tower building would join the Chanin’s Majestic, already being constructing several blocks to the north. By this time, Irwin Chanin had become a registered architect and worked on the design of both of these buildings. Although at first glance, the exteriors are fairly similar, he considered the Century to be a finer work, with the addition of more complex ornamental crowns on the towers and improvements to the design of the façade and windows. One of the other notable differences was the Century’s heavy concentration of smaller apartments, as larger units were becoming difficult to rent due to the Depression. Over the years, the building had its fair share of famous tenants including Ethel Merman, Jack Dempsey, Robert Goulet, Joey Heatherton and Nanette Fabray.

The Century Towers

The Majestic Towers

After a long and contentious battle, the Century successfully converted to a condominium in 1989. To this day, it is one of only three condos on Central Park West south of 88th Street, the others are 15 Central Park West and Trump International at 1 CPW. Some of the apartments have spectacular views of Central Park and many retain their original pre-war details and special features like sunken drawing rooms with fireplaces, duplex suites, creak-proof walnut and select hardwood floors and luxurious bathrooms with stand-alone showers. Irwin Chanin lived in the Century until his death in 1988 at the age of 96.
The Century was designated a landmark by the Landmark Preservation Commission in 1985.

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View of Pomander Walk from 95th Street and West End Avenue

Pomander Walk - A Storybook Community

April 17, 2020 by Pamela Ajhar in Streetscapes

Pomander Walk is a delightful re-creation of a Tudor Village that cuts through 94th and 95th Street and is bounded by Broadway and West End Avenue. Views from the street of an L-shaped lot reveal the bulk of the 27 unique buildings that make up this private residential complex and highlight the mish-mosh of materials including brick, gray ashlar stone, stucco, painted wood trim, half timbering, painted shutters and flower boxes used to construct them. What is not visible from the street and may only be admired through the holes of two locked gates on either side of the walk-way, is what will surely stop you in your tracks.

Through either entrance way (the one on 94th Street has a stone arch crowned by a quaint metal sign with a crowing rooster) and up a few flights of steps, lies a secluded pedestrian only street, lined on each side by eight two-story houses; each with its own unique façade. Two old style iron lampposts stand, like book ends, on each side and every building has a lovely garden out front. It’s like a scene straight out of a storybook.

Built in 1921, it was the brainchild of Thomas Healy, a local nightclub operator. Healy’s ultimate goal was to build a 16 story hotel, so Pomander Walk was only meant to be an interim improvement to the land which would be demolished once the final hotel plans were in place. He commissioned the architectural firm of King and Campbell to design a complex that would resemble a small London street. The inspiration was to come from the set of a popular play, “Pomander Walk”, by Lewis Parker, which opened on Broadway in 1910. Healy met an early death in 1927, so Pomander Walk remained.

By the 1970’s the neighborhood had changed dramatically and the Walk itself had become less magical and more run-down. Developers were beginning to eye the land, for redevelopment. Thanks to the Landmark Preservation Commission, Pomander Walk was successfully designated as an Individual Landmark in 1982. It was around this same time that the development was also converted to a co-op. Apartments range in size from small studios to large apartments which take up the entire building.

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Panorama Columbus Circle, circa 1907. Via Library of Congress

The Prasada at 50 Central Park West - Then and Now

April 05, 2020 by Pamela Ajhar in Architecture

I recently came across a wonderful panoramic photo taken in 1907 of Columbus Circle looking uptown to the Upper West Side. In comparison to today, the entire neighborhood looks almost completely unrecognizable, with the exception of the Columbus Monument (1892) and The Ansonia Hotel in the distance (completed in 1904). I decided to enlarge the photo to get a closer look at the buildings on Central Park West that run up to the mid 60’s. I was amazed to find one building that still stands today; the Ethical Culture School, built in 1902. Under closer inspection, I realized there was a second building, the Prasada, on West 65th. I almost missed it since over the years the façade of the building has been altered quite a bit.

Ethical Culture School with the Prasada in the background

Developer, Samuel B. Haines, commissioned architect Charles Crowning to design the 12-story luxury apartment building. To meet the high expectations of the wealthy clientele and help lure them to the neighborhood, it was necessary to offer state-of-the-art apartment amenities, spacious floor plans and exceptional views of Central Park. Residents were greeted by an impressive portico entrance with four distinctive two-story banded columns and a beautiful lobby leading to a central open court enclosed by a stained glass paneled skylight. The exterior of the building, a combination of brick, limestone and terra cotta with embellishments of Beaux-Art ornamentation was crowned with a distinctive two-story-high mansard roof. The Prasada was completed in 1907.

Images of The Prasada in 1907 and The Prasada Today

Shortly after completion, the building traded ownership several times. In 1919, two investors by the names of Penrhyn Stanlaws and Walter Russell purchased with the plan to reconstruct and transform the building “into a new type of apartment house which is practically a combination of club, hotel, and apartment evolved to meet modern conditions, such as the servant problem and high cost of rents.” Their ambitious plans were somewhat curtailed, but unfortunately they did succeed in removing the mansard roof and upper floor details, replacing it with plain brick. Furthermore, sometime in the 40’s, the stone balustrades on the fourth and tenth floors were removed and the iron railings outside each apartment window were stripped away.

The building was converted to a cooperative in 1988. In 1999, the co-op undertook an extensive renovation project. The firm of Ehrenkrantz Eckstut and Kuhn was hired to redesign the lobby; a new Beaux-Arts-style mix of columns and cornices illuminated by the original stain-glass skylight panels. Despite the changes over the years, The Prasada, located at 50 Central Park West is still considered one of the most preeminent addresses on the Upper West Side.

The Lobby Today and (below) the Front Entrance and Elevators Today

To read more about the Prasada, read these articles:
NY Times
Daytonian in Manhattan

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Same View as Top Image From Columbus Circle in 1932

Seeing Double on Broadway - 221 W 82nd & 222 W 83rd St

April 23, 2019 by Pamela Ajhar in Architecture

If you happened to be walking on Broadway between 82nd and 83rd Street and glance up at the two buildings on the east side of the street, you can rest assured that you are not seeing double. These buildings, 221 West 82nd Street and 222 West 83rd Street, are twin buildings.

222 West 83rd Street and 221 West 82nd Street - Looking East on Broadway

As the 1920’s brought a building boom to the Upper West Side, the developer Sam Minskoff, a former plumber, was on his way to becoming a prolific NYC developer. Architect, Emery Roth, whose very first building design, the Saxony, built in 1900 and located just down the street at 250 West 82nd, was also earning accolades for his work. Minskoff, having already worked with Roth, once again commissioned him to work on what would become the first of a two building project.

Similarities of the Front Entrances - 221 W. 82nd is a Condop and 222 W 83rd is a Rental Building

The first of the two, located on 82nd Street, was named the Myron Arms, and the second, built a year later on 83rd, was called Jerome Palace. Both were named after his sons. Myron, Jerome and a third son, Henry, would eventually take over the family business of Sam Minskoff and Sons and in the 1970’s would oversee the construction of what Broadway theater lovers would come to know as the Minskoff Theater.

Key features of the Italian Renaissance inspired designs of the two buildings include the use of granite, limestone, brick and terracotta. Each of the buildings are topped with a setback penthouse floor. There are some slight variations between the two, so the next time you are passing by, look up and see if you can detect the differences.

To learn more about how Sam Minskoff and Emery Roth began their working relationship read this: http://www.chestercourt.com/about-us

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555 West End Avenue - St Agnes Reimagined

December 06, 2018 by Pamela Ajhar in Architecture

A striking collegiate gothic style red brick and limestone building sits gracefully on the southwest corner of West End Avenue and 87th Street. Located in what is now part of the Riverside West End Historic District, it was a parochial school for over 100 years. In January 2013, the New York Roman Catholic Archdiocese announced the closing of 22 elementary schools and 2 high schools and St. Agnes Boys’ High School was on that list. Shortly afterwards, the building was sold to architect/developer Cary Tamarkin and is now in the process of being transformed into luxury condominiums.

The history of 555 West End Avenue began in 1907-1908 when the New York Protestant Episcopal Public School Corporation commissioned architect William A. Boring to design the St. Agatha’s School for Girls (later sold to the Catholic Archdiocese). Mr. Boring began his career in the late 1800’s in California, later moved to New York City to attend Columbia University and after a brief stint at McKim, Mead and White, teamed up with architect Edward L. Tilton. Their first prominent work was the design of the buildings for the U.S. Immigration Service on Ellis Island (1897-1901, part of the Ellis Island Historic District) which received a Gold Medal at the Exposition Universelle of 1900. The formal partnership ended in 1904 and Boring went on to a solo career, designing many public buildings including St. Agatha. He became extremely active and influential in design and planning circles and worked on many important projects. One of my personal favorites is the American Seamen‘s Friend Society Sailors‘ Home and Institute, 505-507 West Street, now a designated New York City Landmark and currently operating as The Jane Hotel (www.thejanenyc.com). Boring left his full-time practice to join the faculty of Columbia University‘s School of Architecture, becoming a professor of design (1915), director (1919), and the first dean (1931) until his retirement in 1934.

Ellis Island Architects: William A. Boring and Edward L. Tilton

American Seamen‘s Friend Society Sailors‘ Home andInstitute, 505-507 West Street - Architect: William A. Boring — American Seamen‘s Friend Society Sailors‘ Home and
Institute, 505-507 West Street - Architect: William A. Boring

Without the constant comings and goings of students, Tamarkin is able to reimagine the interior space of this beautiful building, while still maintaining what remains of the grand exterior. One of the more notable, but not so recent changes was the removal of a giant cross that once sat prominently on the top of the building. Notable interior features will include towering ceiling heights, enormous windows, large room sizes and classic elements such as gracious entry foyers, walk-in pantries, eat-in-kitchens and staff rooms. While 555 West End Avenue is still under construction, sales of the 13 unique residences have already begun. I recently toured model residence # 3E, with interiors designed by Charlie Ferrer. Architectural Digest highlighted this project in a recent issue: https://www.architecturaldigest.com/story/charlie-ferrer-first-model-555-west-end-tamarkin

555 West End Avenue #3E Interiors by: Charlie Ferrer

My blogpost would not be complete without mentioning the piece de resistance, the Solarium Penthouse currently offered for $18,000,000. The centerpiece of this three-bedroom home is a breathtaking Great Room crafted from the immense vaulted and skylit volume of the original school gymnasium. Stunning in its scale and luminosity, the dramatic space soars to nearly 19-1/2 feet, with a floor-to-ceiling window-wall along its south façade that opens onto a private terrace. Here is a link to see more photos: https://555westendave.com/residences/the-solarium-penthouse/

555 West End Avenue: Rendering by Tamarkin

For more information regarding the conversion process visit: https://newyorkyimby.com/2015/05/landmarks-wants-less-visibility-on-555-west-end-avenue-rooftop-addition.html

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Revson Fountain at Lincoln Center

October 26, 2017 by Pamela Ajhar in Monuments and Memorials

The windows of our Brown Harris Stevens office, located directly across the street from Lincoln Center, offer a front row seat to the Josie Robertson Plaza. The Plaza, which is surrounded by the Metropolitan Opera House, David Geffen Hall (formerly known as Avery Fisher Hall) and the David Koch Theater (formerly the New York State Theater), is often referred to as the gateway to Lincoln Center. In the center of it all is the crown jewel, the Revson Fountain, completed and dedicated on April 6, 1964.

The view of Revson Fountain from Brown Harris Stevens West Side office

Lincoln Center, constructed in the 1960’s, was part of the “Lincoln Square Renewal Project” during Robert Moses’ program of urban renewal. The construction of the original Revson Fountain, designed by Philip Johnson, was made possible by a gift from the Revson Foundation in honor of Revlon’s founder, Charles H. Revson. When first built, it was the most technologically advanced fountain in New York. Over the years, the fountain has been immortalized in the scenes of countless films and television productions, including: The Producers (1968), Godspell (1973), Manhattan (1979), Ghostbusters (1984), Moonstruck (1987), Sweet Home Alabama (2002) and Black Swan (2010).

In 2006, Diller Scofidio + Renfro took on the role of lead designers of a $1.3-billion Lincoln Center redevelopment project. The plan was to include improvements to the arts complex, the addition of two new restaurants, a roof garden, two groves, as well as work to several of the plaza’s entrances. The Charles H. Revson Foundation contributed to the project by awarding a $4 million multi-year grant in support of the redesign of the Fountain.

Completed in 2009, Diller Scofidio’s design replaced Johnson’s bulkier granite base with a thin Cambrian black granite ring that rests on slender steel supports, opening up the view across the Plaza in all directions. The water level of the fountain’s basin, lowered to match the pavement level, contributes to the illusion that spectators are standing on top of the water. WET Design (Water Entertainment Technologies), a Los Angeles based water features firm best known for designing some of the most famous modern fountains in the world including, the Dubai Fountain and the fountains at the Bellagio Hotel and Casino in Las Vegas, was brought on to completely redo the fountain’s innards. WET, led by co-founder Mark Fuller, designed water features controlled by 353 nozzles encompassing 36 mIcroshooters, 149 smooth bore analog nozzles and 168 aerating analog nozzles, all working together to create a show of choreographed alternating, pulsing and continuously flowing streams of water that can shoot more than 40 feet high. The water shows are on a set schedule that vary from season to season. Visit: http://www.lincolncenter.org/visit for a current schedule.

For more information about the renovation and the fountain’s architect, read the article “Water Music” by John Seabrook in the January 11, 2010 issue of the New Yorker. https://www.newyorker.com/magazine/2010/01/11/water-music-2

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Detail above the door of the Grand Hall of Aaron Shikler's studio at 44 West 77th Street

44 West 77th Street - Facade Transformed

July 31, 2017 by Pamela Ajhar in Architecture

Aaron Shikler, the famed portrait artist resided at 44 West 77th Street for over 50 years, until his death in 2015 at age 93. It was here in his studio overlooking the American Museum of Natural History, that he painted one of his most notable works, the official White House portrait of John F. Kennedy. I recently had the pleasure of visiting this 11-room residence located on the 4th floor, which is currently on the market for $5,998,000. The original architectural details of several of the rooms are truly breathtaking, especially the Grand Hall, with its 14.5 foot ceiling and carved wood pilasters and Corinthian capitals. With 2 apartments per floor and a total of only 33 apartments, it is truly a treat to find an apartment with so much of the original decorative features.

This 14-story building, once called The Manhattan Square Apartments, was built in 1909. Walter Russell, who already had success commissioning several studio/ apartment cooperatives on West 67th Street, wanted to bring this same idea to 77th Street and hired the architectural firm of Harde and Short for the project. Herbert S. Harde and R. Thomas Short were already known for their distinctive designs, having earned critical recognition for the Elizabethian-styled five-story Red House at 350 West 85th Street in 1903, followed in 1906 and 1907, with the neo-French Renaissance Alwyn Court on West 58th Street and the neo-Gothic Park View on East 66th Street. But 44 West 77th Street, when completed, did not earn the same praise; the neo-Gothic facade covered in elaborate terra-cotta ornamentation and topped with a French Gothic Tower, led the critic of the Architectural Record to remark that it made him stare and gasp in astonishment. Architectural historian, Andrew Alpern, wrote in his book Luxury Apartment Houses of Manhattan that it was “encrusted with ornaments that appeared to have been squeezed out of a pastry tube”.

West 77th street by William Sanger 1907, from the collection of the museum of the city of New York

By the late 1930’s, pieces of terra-cotta began falling to the street. Poor installation, acidity in the atmosphere and pigeons who regularly visited the frontage of the building, caused further damage. In 1940, the Metropolitan Life Insurance Company took over the building with a deed in lieu of foreclosure and in 1944, rather than taking on a costly restoration, the company’s architect made the decision to remove the bulk of the terra-cotta.

It is hard to imagine that the exterior of the building once looked so radically different. If you have the chance to peek into the lobby, you can still find all the details of a very dramatic gothic lobby complete with leaded glass windows, grand columns, groin-vaulted ceilings, pendant chandeliers and bronze statues.

To read more about the altered façade of 44 West 77th Street, read Christopher Gray’s article in the New York Times:
http://www.nytimes.com/1992/02/23/realestate/streetscapes-44-west-77th-street-restoration-of-an-altered-facade.html

To read more about the history of the building and it’s residents, visit Daytonian in Manahattan:
http://daytoninmanhattan.blogspot.com/2014/09/the-1909-manhattan-square-apts-no-44.html

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Astor Court Apartments and the Copper Cornice

Astor Court's Grand Garden

April 12, 2017 by Pamela Ajhar in Architecture

John Jacob Astor amassed a huge fortune before perishing on the Titanic in 1912. His son, Vincent Astor, 20 years old at the time, was a student at Harvard. He inherited $87 million from his father’s estate and stepped into the sprawling family real estate business. His first project was the $1 million Astor Court apartments on Broadway that took up the entire block from 89th to 90th Street. Built in 1914, this 13 story
U-shaped brick building, has entrances on both 89th and 90th Street. It has a rather reserved red brick façade, topped with an exceptional great copper cornice that overhangs from the roof and projects out eight feet. Charles A. Platt, a skilled architect, landscape architect and artist, designed all aspects of the project.

However, one of the most distinguishing features of this building is not visible from the street. It is the gloriously landscaped outdoor garden court that sits between the two sides of the building. Buff color bricks cover the rear façade, helping to lighten up the space . There are many cozy places where residents can sit with friends and neighbors. Robert A. M Stern called Astor Court “perhaps the loveliest of all courtyard apartments built between 1900 and the First World War”.

Vincent Astor sold the building in 1922 and many of the original six-to nine room apartments were ultimately divided up, but some gracious layouts still remain. When the building converted to co-op in 1985, the garden was revitalized with flowering plants and mature shade trees, making this private outdoor space one of the true gems of the Upper West Side.

Astor Court in 1922

To learn more about the building, clink on the link below:
http://www.nytimes.com/2001/07/01/realestate/streetscapes-89th-street-broadway-1916-astor-building-private-garden-grows.html

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101 West 78th Street aka The Evelyn

February 16, 2017 by Pamela Ajhar in Architecture

Over the years, the story has persisted that 101 West 78th Street, once known as The Evelyn, was named for Evelyn Nesbit. She was the 16-year-old mistress of the famed architect Stanford White of McKim, Mead & White. The same Evelyn Nesbit whose future husband, millionaire Harry Kendall Thaw, would ultimately shoot and kill Stanford White in 1906 in a fit of jealous rage. The problem with this story is that neither White, Nesbit nor Thaw ever had anything to do with this building and furthermore, Evelyn Nesbit was only a baby in 1885 when the building first earned its name.

As of this writing, the building has now shed this moniker and will now be known only as 101 West 78th Street. Located directly across the street from the Museum of Natural History, it is in the midst of a major renovation and condo conversion. The original construction of the striking red brick building began in 1882, when the intended design by architect, Emile Gruwe, was for an 8 story building with a mansard roof. The building rose up to the 5th floor and then the money dried up. Developers, Phineas Smith and Edward Milliken purchased the building after it went into foreclosure and hired new architects, Douglas and John Jardine, to complete it. If you look up at the now 7 story building, you will notice the change in the design form on the top two floors of the building.

The building is adorned with lovely terra cotta figures. In 1987, they were at risk of being removed, but fortunately, a group of Upper West Siders fought and ultimately won the battle to save them.

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Linda's Lawn in Riverside Park South

August 31, 2016 by Pamela Ajhar in Streetscapes

This weekend marks the 123rd year Labor Day will be celebrated in the United States. It became an official federal holiday in 1894, honoring the social and economic contributions of American workers. One such public servant who worked tirelessly for the people of New York City was urban planner and activist, Linda Stone Davidoff (1941-2003). During her 40 years of advocacy, she headed several non-profit organizations, including The Parks Council, The New York League of Conservation Voters, Citizen Action of New York and Citizens Union and Citizens Union Foundation. She was also instrumental in the development of Riverside Park South. In recognition of those efforts, Linda’s Lawn, which runs along Riverside Park South from 65th to 68th Street was named in her honor in 2004.

Beginning in 1991, she led a coalition that worked to create a plan for the utilization of 27 acres of Hudson River waterfront property which was formerly used by several Railroad Companies. Running from 72nd Street down to 57th Street, and connecting to the northern portion of Riverside Park, this multi-phase project came to be known as Riverside Park South. In November 1998, the first phase began with a 7 acre section from 72nd to 68th Street. The fourth phase and most recent was completed in 2007, linking 62nd to 57th Street. Riverside Park South is a beautiful urban landscape with winding trails, river piers, lush plantings, weeping willow trees, remnants from the days of the railroad and a really interesting Arts Students League installation that is up until May 2017.

New York Central Railroad 69th Street Transfer Bridge National Register of Historic Places 2003 — New York Central Railroad 69th Street Transfer Bridge
National Register of Historic Places 2003

If you are celebrating Labor Day weekend this year in the city, stop by Linda’s Lawn and remember to pay tribute to a woman who loved this city and worked hard to help make it a great place to live.

Inscription on Sculpture: Our Lives Begin to End The Day We Become Silent About the Things That Matter. Dr. Martin Luther King, Jr — **Inscription on Sculpture:** Our Lives Begin to End The Day We Become Silent About the Things That Matter. Dr. Martin Luther King, Jr

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The Straus Mansion once stood on the current site of The Clebourne Apartment Building

The Clebourne - 924 West End Avenue

July 07, 2016 by Pamela Ajhar in Architecture

The Clebourne is located on the former site of the Straus Mansion. Isidor Straus lived in the sprawling home with his wife Ida from 1884 until the couple perished aboard the Titanic on April 15th 1912. Isidor was best known as one of the founding partners of the department store Abraham and Straus (aka A&S) and also as a co-owner of the Macy’s department store. Shortly after their deaths, the house was sold to developers and demolished to make way for the Clebourne Apartment Building.

Side view of the entrance and porte-cochere of the Clebourne

Completed in 1913, this grand dame and one of my personal favorites, is most notable for its ornate façade and elegant porte-cochere entrance which faces onto 105th Street. Designed by the team of Schwartz and Gros, the exterior and lobby have an arts and crafts character. There are 3 elevator landings and most floors have 2 apartments per landing. This coop has primarily large apartments, ranging in size from 6-9 rooms, with high ceilings and old fashioned layouts.

Straus Park statue and bench with inscription

Straus Park, which sits in the triangle between West End Avenue and Broadway and is located 1 block north, was named in honor of Isidor and Ida. There is a beautiful bronze statue by Augustus Lukeman of a nymph who looks to be gazing out to sea. On the bench behind the statue is inscribed "Lovely and pleasant were they in their lives and in their death they were not parted." The passage is said to refer to Ida's choice to stay on the Titanic with her beloved husband, Isidor, rather than get safely into a lifeboat.

Here is a link to an article about Straus Park: http://www.nytimes.com/1998/08/23/realestate/streetscapes-straus-park-106th-street-west-end-avenue-restored-memorial-2-who.html

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The Chatsworth before the annex was built. The porte cochere has been removed. Photo: Museum of the City of New York

The Chatsworth -344 West 72nd Street

June 23, 2016 by Pamela Ajhar in Architecture

In the early 1900’s, the developer George F. Johnson, acquired a piece of property which sat at the southern end of Riverside Drive and 72nd Street overlooking Riverside Park and the Hudson River. The sweeping views of the 191 acre park and the winding shoreline of the river became the perfect location for an upscale apartment building that would successfully lure wealthy residents. A finely appointed residential building was designed by architect, John E. Scharsmith and came to be known as the Chatsworth. The 12 story red brick and limestone trim façade Beaux Art beauty, topped with a mansard roof, is lavishly adorned with an array of hand sculpted figures that feature cherubs, fruit and stags.

Original Kitchen Photo: Museum of the City of New York

When it opened in 1904, it had 66 “housekeeping units,” some as large as 15 rooms. Residents were offered a broad spectrum of services including a café, a barber shop and hair-dressing parlor, valet and tailor services and a billiard room. There was a sun parlor which ran across the entire top floor of the building. Scharsmith designed a smaller annex immediately adjacent to the building and it was added in 1906.

In later years, as was common for the neighborhood, the apartments were subdivided into smaller units, but it was always maintained as a rental building. Now it is undergoing a condo conversion. The entrance with its intricate metal work and ornate ceiling and the lobby’s skylight and hand carved walnut paneling have recently been restored. Many of the apartments have been re-combined to create large grand spaces and new amenities such as a lounge room, game room, children’s playroom and gym have been added. Here is a link to building website: http://thechatsworth.com/chatsworth/history/

Here is a link to building website: http://thechatsworth.com/chatsworth/history/

Pamela Ajhar

Norman Rockwell Place

June 08, 2016 by Pamela Ajhar in Streetscapes

Norman Rockwell Place
Amsterdam Avenue and West 103rd Street

A group of High School juniors and seniors from the Edward A. Reynolds West Side High School took an idea they came up with in their civics class to the City Council. In commemoration of Norman Rockwell’s early years living in their neighborhood on the Upper West Side, the students conducted a yearlong campaign to have the southeast corner of Amsterdam and 103rd Street renamed “Norman Rockwell Place”. Their persistence will finally pay off this Thursday the 9th of June when a street naming ceremony will take place, in which the new street sign will be affixed.

Students and faculty from Edward A. Reynolds West Side High School outside Norman Rockwell’s studio, during a recent visit to Norman Rockwell Museum. Photo ©Norman Rockwell Museum. All rights reserved.

Norman Rockwell was born on February 3, 1894 in a brownstone at 206 West 103rd Street (the building is no longer there) where he lived until he was two years old. His family then moved to Harlem and later in life, he resided at the Hotel des Artistes at 1 West 67th Street and Central Park West. Most people are familiar with Rockwell’s illustrations of small town America, many of which he painted for the covers of the Saturday Evening Post, creating images for 321 issues over a 47 year period. But some of his most important work came after he ended his relationship with the Post and began working for Look Magazine, turning his attention to some of the social issues facing the country in the 60’s, such as poverty, racial discrimination and the Vietnam War.

Here is a link with the details of the sign unveiling on June 9th http://www.nrm.org/2016/06/norman-rockwell-place-unveiled-special-ceremony-new-york-city-june-9/

For a real treat, visit the Norman Rockwell Museum in Stockbridge Massachusetts. Here you will find a fantastic collection of his original paintings. The Museum is open year round and studio visits are available from May to November.

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Advertisement for a brand new 380 Riverside Drive

The Hendrik Hudson - 380 Riverside Drive

May 20, 2016 by Pamela Ajhar in Architecture

There are many places throughout New York City and the surrounding area that are named after Henry Hudson including the Hudson River, the Hudson Bay, the Henry Hudson Parkway and the Town of Hudson located in the Hudson Valley in Columbia County. There is also, The Hendrik Hudson, also known as 380 Riverside Drive, a grand building which takes up the entire block between 110th and 111th Street along Riverside Drive. Architectural historian, Andrew Alpern, considered it so important that he featured it on the cover of his book “Luxury Apartment Houses of Manhattan”.

The Hendrik Hudson from the corner of Riverside Drive and 110th Street

Completed in 1907, when the area was comprised of mostly low rise buildings, the new IRT subway stop located a short block away on 110th (Cathedral Parkway) promised to bring new life to the neighborhood. William L. Rouse of Rouse & Sloan modeled the design after an imaginary grand Tuscan villa, with a two story rusticated limestone base which incorporated large arched windows and projected balconies of stone and terra cotta ornamentation on the top portion of the building. Standing 8 stories high, it was at the time, the biggest private building of the upper drive, even though it was well under the 12 floor legal limit. Originally topped by two large square towers, with open Palladian arches on all 4 side. The towers were connected by a promenade and while the south tower still remains, the walkway and north tower were long ago removed. The interiors and exteriors were elegantly designed with very large floor plans. Amenities included a billiard room, café and barber shop which along with its magnificent views of Riverside Park attracted many new tenants.

After the war, the neighborhood experienced an economic downturn and most of the large apartments were cut up into smaller units. In 1960, after years of neglect, new owners took possession of the building that had earned the nickname “Slum with a View” and invested close to a million dollars in renovations. Now considered one of the crown jewels of Morningside Heights, the building was converted to a coop in 1970. If Henry Hudson were around today, he would be proud to know this majestic building with its architectural symmetry, grand marble lobby and lovely apartments with exceptionally high ceilings was named after him.

Pamela Ajhar

Front Entrance of the West Side Y on 63rd Street

It's Fun to Stay at the YMCA

May 12, 2016 by Pamela Ajhar in New York City History

The YMCA of Greater New York currently operates 24 branches throughout the 5 boroughs of New York City, with 6 locations in Manhattan. Since 1852, the Y has been providing services to build the spirit, mind and body through on-site and summer camp programs. As a child I learned to ride a horse, canoe down the Delaware River and commune with nature at Camp Talcott, a sleep-away camp in Huguenot, New York that has been operating since the early 1900’s. I also often accompanied my father to the West Side Y where I remember a beautiful yet somewhat run down pool with gorgeous Spanish tile where my brothers and I swam while my father played handball. The exterior of the building was enchanting and reminded me of a castle from a fairy tale.

The West Side Y, originally located on West 57th Street, opened in 1896 and was the first YMCA branch to house a dormitory. In the 1920's, the architect, Dwight James Baum, who had an excellent reputation for building houses primarily in Riverdale’s prestigious Fieldston section of the Bronx, but little experience in high-rise urban projects was commissioned to design a new and much larger branch at 5 West 63rd Street. Completed in 1930, at a cost of about $3.5 million, it was and still remains the largest YMCA in the world with a capacity to serve 10,000 members. Standing 14 stories tall, it’s distinctive medieval-like features include polychrome tile work, towers, battlements and irregular balconies spaced to resemble an Italian fortified town. The dormitory space was expanded to accommodate as many as 600 visitors with rooms renting for as low as $5.50 a week. Over the years, it has served as a temporary home to the likes of John Barrymore; Montgomery Clift; Kirk Douglas; Douglas Fairbanks; Bob Hope; Elia Kazan; Jack Kerouac; Martin Luther King, Jr.; Dan Rather; Norman Rockwell; Andy Rooney; Robert Penn Warren; Johnny Weissmuller; Malcolm X; and Tennessee Williams.

Although the main entrance on West 63rd street, with all its terraces, arches, towers and figurative details receives the most attention, the building extends all the way through to 64th Street. On this side, Baum lit the gymnasium with three giant arcaded leaded glass windows. High above the windows and not fully visible from the street, a group of odd looking figures project out from the brick. Colorful terra-cotta tile figures of young men engaged in sports activities like baseball, tennis, football and golf along with a group of religious figures embellish the arched entry on this side of the building. Take a virtual tour of the facilities by visiting http://www.ymcanyc.org/westside/pages/west-side-ymca-virtual-tour or better yet, sign up for a guest pass and try the Y for free.

Terr-cotta Tile Close-up 64th Street Side

Gargoyle on 64th Street Side - Photo by Gargoyles of New York

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The American Youth Hostels located at 891 Amsterdam Avenue opened in 1990

The Association Residence for the Respectable Aged Indigent Females aka The American Youth Hostel

May 03, 2016 by Pamela Ajhar in Architecture

From 1973 to 1989, this historic building was considered a community eyesore; boarded up and surrounded by chain link fences. Much of the original slate roof had been damaged by a fire set during the 1977 New York City blackout. Through the joint efforts of local historians, neighborhood activists and Columbia University students, the building was given landmark status in 1983 and is now the largest hostel in North America. With 670 beds, the American Youth Hostels building hosts visitors from all over the world offering dorm style rooms with modern amenities that include a large outdoor patio and green space, a game room, a café, an internet and television lounge and a large communal kitchen.

But what is most intriguing about this building is only briefly described on the plaque that sits at the main entrance. 891 Amsterdam Avenue, located on the corner of 103rd Street was once known as The Association Residence for Respectable Aged Indigent Females, a place for elderly woman to help them “avoid the degradation of the poorhouse”. It was constructed in 1881-83 by “The Association”, one of New York City’s most charitable organizations. The residence was open to “any respectable non-Roman Catholic gentlewoman over sixty years of age, on payment of $150 and the surrender of any property she possessed”. A subsequent gift of $250,000 funded an addition in 1908, extending the building to 104th street and included the installation of a gorgeous Tiffany window to the chapel, which is now housed in a museum in Winter Park Florida.

The design of the building is described as “a French-inspired style which recalls the Victorian Gothic” and was created by Richard Morris Hunt, one of the most sought after architects of the 19th century. Hunt, the first American Architect to attend the L’Ecole des Beaux Arts in Paris, is now best known as the architect of the lavish summer residences for the Vanderbilt family; the Biltmore Estate in Asheville, North Carolina and The Breakers in Newport, Rhode Island. He designed over 75 structures in New York City alone, including many large mansions for the wealthiest citizens of the gilded era. Of those, only 20 of his works in this city still stand. Amongst them, the base of the Statue of Liberty and the front façade of the Metropolitan Museum of Art. We are fortunate that strong community involvement resulted in the preservation of this important landmark, which has also brought new life to the neighborhood.

Pamela Ajhar

A Gang of Gargoyles - 527 West 110th Street

April 26, 2016 by Pamela Ajhar in Architecture

Walk past the Britannia located at 527 West 110th Street and you will be greeted by the amusing faces of 8 grand grimacing gargoyles crouched just above the top of the first floor. They appear to be engaged in various forms of everyday life; eating, cooking, carrying a platter and writing with a quill pen. Step inside the unusually large 35-foot wide courtyard that joins the two separate wings of the building and chuckle at the two additional fellows who flank each side of the entranceway appearing to be yawning or possibly mocking those who enter the building. Completed in 1909, the developer, J. Charles Weschler, decided to buck the trend of the 12 story tall building, common in the day, and hired the firm of Waid & Willauer to design a more distinctive 9 floor “English” style structure.

Apartments ranged in size from five to nine rooms and rented for between $90 to $250. The Britannia is now a condominium and most of the apartments have been carved into smaller units. Christopher Gray elaborates on the history of the building in his 2009 New York Times column “Meet Me Under the Gobbling Gargoyles”. http://www.nytimes.com/2009/01/18/realestate/18scapes.html

Pamela Ajhar

Former Horn & Hardart Automat - Broadway and 104th St

April 20, 2016 by Pamela Ajhar in New York City History

If you have ever had the pleasure of visiting an Automat, you will appreciate this little slice of Horn and Hardart history. In 1902, Joseph Horn and Frank Hardart opened their first Horn and Hardart in Philadelphia, but it was not until 1912 that they got around to opening one in New York City. The first location, known as the centerpiece, was located at 1557 Broadway, between 46th and 47th Street, in the heart of Times Square. The idea quickly took hold and by 1922, they had added another 20 locations. The automats were known for their sleek art deco décor and reliable quality. The food was reasonably priced and was available for purchase from a glass and chrome coin operated dispenser. The chain appealed to a wide variety of clientele and remained profitable, even during the depression. Competition came and went, from businesses such as Chock Full O’Nuts, Nedicks, Longchamps, Schrafft’s, Child’s, Strewart’s and Bickford’s, but the Horn and Hardart’s chain kept on growing, reaching top earnings in 1958.

The business no longer exists as the last remaining location at 200 East 42nd Street on the corner of Third Avenue closed in 1991, But one former Upper West Side location, a 3 story, limestone clad art deco building designed by F.P. Platt Bros in 1930 can still be found on Broadway and 104th Street. It was known as the Horn & Hardart Automat-Cafeteria building until the restaurant closed in 1953. Many businesses have since operated there, currently a City MD is leasing the ground floor. But look up to the third floor and you will still find some original notable details, such as the glazed polychrome Art Deco style terra-cotta panels that feature stylized floral motifs and zig zag patterns in hues of green, blue, tan and gold. The building was designated a city landmark in 2007.

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The Manhasset Apartments - West 108th and 109th Street

April 13, 2016 by Pamela Ajhar in Architecture

What looks like one massive building occupying the entire hundred feet blockfront of Broadway between 108th Street and 109th Street is actually two buildings with separate limestone entryways on both streets. The buildings, known collectively as the Manhasset Apartments, were designed and constructed in two phases. The original plan was for two eight story brick buildings, but bankruptcy forced a sale before the buildings were completed. The new owner, Jacob Butler, who took possession in 1901 decided to take advantage of new construction laws that had just come into effect and added 3 additional floors to the plan. He also hired the team of Janes and Leo, who were at the time working on the grand Dorilton building at 71st Street. They made additional enhancements to this limestone, brick and terra-cotta Beaux-Arts style façade including the addition of the most prominent feature of a two story slate-covered mansard roof.

At the turn of the century, the neighborhood known then as Schulyer Square, was dominated by row houses but once the IRT subway was completed in 1904, developers began to construct large scale apartment buildings. When the Manhasset was completed in 1905, the luxurious six to nine room apartments were renting for $1,800 to $3,500 a year. In the 1930’s the building was once again foreclosed on and the new owners subdivided all the apartments and also redecorated the lobbies. The building was converted to condop in 1993 and was designated as a landmark by the City in 1996.

Pamela Ajhar

The First Battery Armory on West 66th Street

April 06, 2016 by Pamela Ajhar in Architecture

It was 1900 and The First Battery, a volunteer field artillery unit of the National Guard of the State of New York, was headquartered above a saloon on West 44th Street. The building was managed by their Captain, Louis Wendel. The First Battery was one of many militia groups throughout the country formed to help with domestic peacekeeping efforts during the post–Civil War era of labor-capital unrest. Captain Wendel, a colorful figure who would later be removed from office for bribery, graft and grand larceny, had connections in Tammany Hall political circles. So when the New York City Armory Board was created to establish a series of ten armories throughout the city, Wendel used his influence to secure a brand new headquarters for his regiment.

In 1901, construction began on The First Battery Armory, located on West 66th Street just west of Central Park. Despite some pushback from the representatives of the National Guard who wanted more control over the selection of the architects, the firm of Horgan and Slattery was chosen. This firm, heavily favored by Mayor Van Wyck and Tammany Hall, held a monopoly on most public projects. The New York Times having published an editorial the previous year questioning whether Horgan and Slattery even existed and if they did, what a coincidence that they seemed to have the expertise to handle every project commissioned by the city.

On February 3, 1904, the group of approximately 100 men composed of mostly German Americans moved in. The first floor housed a concrete drill room, a riding ring and offices. Below the street were stalls for 76 horses, a 50 yard rifle range and a 25 yard pistol range. The Captain’s apartment was located on the third floor. The building, with its castle-like features, consisted of a rectangular headhouse with a central tower for public entry and two end pavilions with “sally ports” to accommodate the horses. The entire block had once been part of the 18th century farm of John Somarindyn and was subdivided into lots for sale in 1852. By the time the Armory was built, the block was typical of the neighborhood being half built up, primarily with five story houses. Across the street was the St Nicholas Arena, the city’s first indoor skating rink built in 1896 (demolished in 1986) and the Durland Riding Academy which had recently opened in 1901.

In 1913, the First Battery was replaced with new tenants as the 102nd Medical Regiment moved in, serving as a medical unit during World War 1 and World War 2. They remained in this location until ABC acquired the building in 1976, transforming it into a sound stage for soap operas. Now one of 6 armories designated a New York City Landmark, the location now serves as offices for ESPN. Despite the building’s many different transformations, you can still find throw backs to the time when the First Battery of the National Guard inhabited the building. Above the first story are the letters N.G.S.N.Y. and at the top of the tower is the First Battery’s insignia carved in relief as a central shield with “1901”, N.G.N.Y. and “Semper Paratus” which means “always ready”.