New York City and the Arts

Belvedere Castle, located in the middle of Central Park at 79^th street, is one of the park’s most monumental structures. Its name literally translates to “beautiful view” in Italian. The castle provides an amazing view of the rest of the Park and New York City. According to the Central Park website, the castle sits on “the second highest natural elevation in the park” on a mount called Vista Rock. The architecture was inspired by a combination styles including Gothic and Romanesque. It is a masterfully crafted attraction, with its magnificent stone façade, turret and flag, two wooden pavilions and two balconies.

Intended to be merely a fantasy piece (a “Victorian folly”) for the park, Belvedere Castle was nothing more than a shell of a castle with ornate open window frames and doorways. It was designed by architects Calvert Vaux and Frederick Law Olmstead and sculptor Jacob Wrey Mould in 1865.

Calvert Vaux grew up comfortably in England, taking up architectural training in several styles including Gothic. He moved to New York in the 1850s after Andrew Jackson Downing recruited him for a landscape gardening practice. Together with Downing, he worked on projects such as the more formal reconstruction of the Smithsonian Institute in Washington, D. C. His plans to improve the urban culture culminated in his plans for Central Park. He was the first architect in New York City to advocate apartment houses. Vaux was an intellectual who saw many possibilities within the sect of rural construction, blending together elements of art, nature, and craftsmanship.

Architect Jacob Grey Mould is most famously associated with re-working Olmstead and Vaux’s plans for Morningside Park, the physical barrier between Columbia University and Harlem. His works include Central Park, Bethesda Terrace, the National Academy of Design, the original parts of the Metropolitan Museum of Art, the American Museum of Natural History building, and the fountain for City Hall Park. Other than his architectural accomplishments, Mould played piano and organ, illustrated books, and translated foreign works into English.

Frederick Law Olmstead was born in 1822 in Hartford, CT. He is given the title of founder of American landscape architecture. Before discovering landscape architecture, he worked as a sailor, farmer, editor, and publicist and studied engineering. Olmstead and Vaux entered a design competition together in 1858 and their landscape plan for Central Park won. Olmstead’s designs personify the ideas he gathered in his travels across England, China, and the American South; he believed all citizens should have access to a common green space, now the idea fundamental to a “public park”.

Belvedere Castle overlooks several other popular attractions such as Turtle Pond (directly below the Castle’s base), the Great Lawn (just to the side of it), and the Delacorte Theater to the left of the balconies, all of which add to the mysterious allure of the castle. Depending on which path you take to get to Belvedere Castle, one might pass the Swedish Cottage and Shakespeare Garden, containing statues inspired by Shakespeare’s The Tempest and Romeo and Juliet.

Turtle Pond is literally a man-made pond where five kinds of turtles permanently reside. The pond was all that was left after the reservoir of the old Croton Water System was filled to become the Great Lawn. It was reconstructed in 1988 and houses other wildlife creatures such as aquatic birds, dragon and damselflies, fish and frogs.

The Great Lawn is 55 acres of lush, green grass, dense foliage, and baseball diamonds. The area was originally the site of the Croton Reservoir and could have been transformed into anything from a WWI memorial to an opera house, but Olmstead and Vaux wanted a “rural retreat” area to blend in with their curved, romantic landscape. It was filled with excavation material from Rockefeller Center and the Eighth Avenue subway. It was used exhaustively for performances in the 60s and 70s for the likes of Simon and Garfunkel, Bon Jovi, and the New York Philharmonic, and underwent a well-deserved restoration in 1995.

Delacorte Theater holds several plays in the summer including the popular Shakespeare in the Park performances. A permanent amphitheatre replaced folding chairs and a portable stage thanks to a very generous donation by philanthropist George T. Delacorte.  It officially opened as the summer home of the Public Theater in 1962 with a performance of The Merchant of Venice. The theater is horseshow-shaped and holds more than 1,800 people, claiming more than 100,000 visitors each season. Many famous actors have graced the stage over the years like Meryl Streep, Natalie Portman, Morgan Freeman, Christopher Walken, Natalie Portman, and, recently, Al Pacino.

-Laura Ayala

The first time we viewed the St. Patrick’s Cathedral, we thought it seemed unfitting because it is such an old world gothic remnant in a new, Metropolitan area.  But this juxtaposition is quite interesting because we were able to see how much architecture styles have changes from the detailed, carvings of stone to the sleek edges of glass. We knew this had to be our architecture building topic because we’ve often passed by the Cathedral wondering if it was as old as it seemed and the history behind the strange church.  One of the first things we noticed were the two spirals that shot up from the sides of the Cathedral, which give it an imperial appearance.

Thin marble columns outlined the Gothic doors on the side of the Cathedral. It only got better when we entered the Cathedral through the heavy, detailed doors covered with symmetrical designs of saints.  Inside, the stone surface continued to cover the walls and work up to the top in a way that looked as if the arches pointed towards the heavens.  The pointed arches are one aspect that characterizes Gothic architecture. The lack of bright light and the gloomy essence added more to the Gothic feel.  The stained glass windows also added to the aesthetic pleasure I felt at the beautiful sight.  Images of icons can be seen on the colorful windows.  Another amazing aspect of the Cathedral was the small rooms created by indents into the walls.  In them were marble sculptures of saints.  In addition, the walls had many elaborate carvings of what seemed to be bishops and saints respected by the Catholic religion.  The entire scene gave off a majestic aura and made us feel as if we were not on Fifth Avenue anymore but as if we were transported back in time.  Contributing to the majesty were the large wooden doors and ceilings (which arched) very high above us. In addition, as we walked along the long nave that led up to the altar, we looked up. We noticed that the arches of the ceiling created a path to the altar as well. The light that shown in through the stained glass windows on the sides of the ceiling was soft and inviting. This also contributed to the majestic feeling. After noticing this, we turned around and looked the other way. At the other end of the path, there was a large organ. The organ looked like a symbol of something grand and it made us think about all of the services and weddings that it has probably been used for in the past. The space was very vast and the pews were many, which gave a welcoming feeling as if to make yourself comfortable.  This is in fact what we did. We sat down in the aisles and were able to absorb the serenity surrounding us- from the dimly lit candles to the ominous presence of the dark organs.

The building housing the National Museum of the American Indian was originally designed for a much different purpose than to contain a museum. It was built as the Alexander Hamilton Custom House in 1902 and completed in 1907. Before the instatement of the income tax in 1916, customs duties were the largest source of revenue for the federal government.[1] Because New York was a major port city, customs duties were an important function of the city’s government. Realizing the need for more space for Customs functions, Congress authorized the construction of a new Custom House to replace the old one at 55 Wall Street, which was “Inadequate, with poor lighting and ventilation”.[2] Subsequently, in 1899 the Office of the Supervising Architect of the Treasury held a national contest for the best design for a Customs building to be constructed facing Bowling Green.[3]

Bowling Green is significant in that it was the area around which New York was founded when the Dutch settlers in the 18^th century built a fort on the site to protect themselves from the Native Americans, and later the British. The building itself was first built in 1790 to serve as a home for the US president. When the capital was moved to Philadelphia, the building became the NY Governors’ house of residence. Between 1799 and 1815, it served as the Custom House before being sold to a developer who tore down the building and built a series of elegant row houses for the City’s upper class. When elegant neighborhoods moved uptown, away from the shipping companies downtown, the buildings were converted into offices.[4]

The winning architectural design for the new Custom’s House was submitted by the well-known architect, Cass Gilbert. (Cass later gained famed for his design of the Woolworth building, the world’s tallest building when it opened in 1913.) Much significance was tied to the look and feel of the House because it would have to reflect the power and presence of the federal government as well as the importance of the US Customs Service. It would also allude to the nature of the activity that would be taking place within its walls; the collection of revenue amounted by New York’s imports as a maritime trade center. The exterior of the building is covered with allusions to commerce and trade. Each of the four statues lining the front of the building, facing Bowling Green, represents one of four continents: Asia, America, Europe, and Africa. These serve as a monument to the world’s history (and success) in trade and navigation. Other symbols, such as Mercury, Roman god of commerce, and twelve statues representing the sea powers, cover the exterior.[5]

In 1936, in the depths of the Great Depression, Reginald Marsh was commissioned by the government to paint a series of murals in the House’s rotunda. This was a part of the Treasury Relief Art Project, which offered work to artists during the Depression, and was one of the Public Works projects established by Roosevelt to invest in the country.[6] The murals were a two-series project; one series depicts famous American Explorers, while the other shows the arrival of a ship into New York’s harbor.

Customs moved out of the building on Bowling Green in 1973. This coincided with the planned construction of the World Trade Center. The incentive for this move was to have all Customs port activities contained in one building for convenience.[7]

As a result of this move, the House was empty and unused for almost a decade. Fortunately for us, in 1979, Senator Daniel Patrick Moynihan saved the building from demolition and appropriated money for the restoration of the building to its original grandeur. Once more a competition was held for the building; this time for its restoration and re-use, and by the US General Services Administration. After much restoration, the US Bankruptcy Court for the Southern District of New York moved into the building in 1987 from the Foley Square US Courthouse. Shortly following this, in 1994, the George Gustav Heye Center of the National Museum of the American Indian of the Smithsonian Institution moved into the first and second floors of the building. [8]

The Alexander Hamilton Custom House has changed in appearance and use over the past century. But all of its activity has revolved around the spirit that makes New York the exceptional city it is and always has been. The inner rotunda, for example, still one of the largest public spaces in New York, used to serve as a ceremonial area for New York’s vital bureaucratic Customs activities.[9] Today, it is an entrance chamber for the National Museum of the American Indian. According to Cheyenne member W. Richard West, this museum perfectly embodies New York’s tradition not only as a center for the exchange of money and commerce, but as a “place for the exchange of ideas among peoples”.[10] We can only hope that just as trade helped strengthen New York as a powerful city in the 19^th and 20^th centuries, the idea of New York as a place for ideas and learning about our neighbors and history can build New York as a center for the advancement of peace and prosperity for all.

[2] Saba, Anne. “History of the US Customs Service at the Port of New York.” Alexander Hamilton US Custom House, New York City. <http://www.oldnycustomhouse.gov/history/default.asp> October 30, 2010.

[3] National Museum of the American Indian Visitor Information.

[4] “The US Custom House.” United States Bankruptcy Court. <http://www.nysb.uscourts.gov/history/> October 30, 2010.

[5] National Museum of the American Indian Visitor Information.

[6] Saba.

[7] “The US Custom House.”

[8] Saba.

[9] “The US Custom House.”

[10] National Museum of the American Indian Visitor Information.



Research: Cooper Union’s New Academic Building

The summer of 2009 marked the completion of Cooper Union’s New Academic Building, 41 Cooper Square. Designed by Thom Mayne of Morphosis Architecture, a Los Angelos-based architecture firm, the goal of the new building was to create a modern and environmentally “Green” space for the students. He wanted a unique learning space since the students at Cooper Union are known for their indescribable creativity. The New Academic Building contrasts the Foundation Building of Cooper Union greatly due to its modern aspects and unconventional features, but does not take away from Cooper Union’s ideals and values.

The New Academic Building consists of nine above ground floors and two basements. The first eight above ground floors are made up of classrooms, engineering laboratories, lounges, art studios, and offices. The ninth floor is designated to School of Art studios. The lowest basement level consists of large machine shops and design laboratories. A modern alternative to the Great Hall in the Foundation Building is found on the first basement level where a smaller, contemporary auditorium is present. Linear and circular staircases, as well as elevators, are means of transportation in the building. The linear Grand Staircase connects the first four floors, and a circular staircase connects the rest. The primary elevators are interesting in that they only stop at the first, fifth, and eighth floor to encourage walking and use of the stairs, as well as hopes to run into people for socializing purposes. Secondary elevators are available for the purposes of transporting art, equipment, and materials to any floor. At the top of the Grand Staircase is the fourth floor lounge where students can relax, study, or socialize. There is another lobby on the seventh floor as well. Both of these overlook New York City.

41 Cooper Square, known solely by its address, contains many unconventional features created by Mayne. The linear Grand Staircase connects four floors and the architects had the goal that the staircase would be for transportation and a main recreational space. The stairs being 20 feet wide would allow for this. Along with the fourth and seventh floor lounges, other lounges are connected to each other by floating sky bridges. These sky bridges are open spaces that overlook the atrium and circular staircase and also have the goal of being a social space.

One of Thom Mayne’s primary goals was to create a “green” space for Cooper Union. The entire building is designed to ensure energy efficiency and promote air quality as well as overall sustainability of the structure. In 2010, the New Academic Building became the first laboratory and academic structure in New York City to meet Platinum-level LEED (Leadership in Energy and Environmental Design) standards for energy efficiency. The outside of the building is made of perforated stainless steel panels that can open and close to regulate light and temperature. These panels reduce the impact of heat radiation during the summer and insulate the indoor spaces during the winter. Motorized drapes on all exterior windows are also a feature that helps with this goal. Inside, the full-height atrium allows for improved air circulation as well as provides much day lighting. The building’s glass, steel, and openness allows for up to 75% natural lighting, which reduces energy costs. 41 Cooper Square’s roof insulates the building, reduces pollutants, and reuses storm runoff water for energy. The roof contains heating and cooling panels that makes the building 40% more energy efficient. The input of low-flow plumbing combined with the roof will result in the building saving more than 600,000 gallons of water a year. Carbon dioxide detectors are spread throughout the building and automatically dim power and ventilation when rooms are unoccupied. This innovation saves immensely on energy and costs.

Thom Mayne understood that when he was taking on the job of creating a building for Cooper Union, he had a large responsibility on his shoulders. He was able to grasp the idea that the Foundation Building was historically meaningful, and he supplemented its presence by creating a building that combined Cooper’s traditional values with its innovative goals. I would say the result accomplishes his intentions and is a successful representation of Cooper Union.

Nicole Lennon

Izaya Abdurakhmanov

Gregory Zhenin

MHC 100 Arts in NYC

Personal Response to Fort Tryon Park

While pondering on what the subject of our architectural research should be, Greg issued a suggestion. Izaya had never heard of Fort Tryon Park nor of the general area of Washington Heights. Greg decided that Izaya should be enlightened.  Having grown up in the area, Greg was well aware of the beauty and majesty of the park as well as the Cloisters Museum situated within it. He informed Izaya of this little known architectural marvel within our city, and so the journey began.

Upon stepping into the park, our breaths were taken away by the awe-inspiring beauty of the gardens planted along the left side of the central walkway.  We proceeded down this main path, observing the various flora and fauna. To the right were interspersed wooden benches elevated on stone steppes, which allowed people to rest and admire the flowers in front of them.  The central walkway led directly to a stone staircase that opened up to a layered terrace with a great view of the George Washington Bridge and the New Jersey Palisades.  There were many benches arranged in semi circles, all facing the view.  As we proceeded along our path, we crossed a bridge to another terrace with a large flag pole bearing the American flag in the center.  From that terrace there was a great view of uptown Manhattan that we thoroughly enjoyed. We both thought that the juxtaposition between the view of the city and the view of the Hudson River and Palisades was very interesting, tying the past with the present.  After soaking in the best of both worlds, city and nature, we went back down the way we came but turned off the central walkway and onto Allison’s Walk which had beautiful gardens to either side.

A memorable scene was when came across a gargantuan structure, which we called “the castle entrance” because it looked exactly like a medieval entrance to a castle. The entrance towered above the lower walkways, which enhanced the magnificent presence of the park. But of course, there was yet another segment of the park which was even more mouth opening. The Cloisters, which is part of the Metropolitan Museum of Art, looked like a miniature castle from the outside and inside it was like a replication of a monastery several centuries old. It was dark and gloomy on some levels, which made it seem as if we were actually inside a monastery. However, there were also doors that led to gardens inside the Cloisters which were also very nice.

In all, we really enjoyed our trip to Fort Tryon Park. The views it offered were amazing and the views within the park itself were very beautiful. The wide, open fields, the animal life, the flowers, the rocky heights, and the Cloisters were all fascinating and wonderful experience to witness. The architecture of the manmade terraces, gardens, and walls were very impressive. It was hard to believe that people were capable of building such tall and realistic looking landscapes. Overall, the project was really fun to do and it made us realize that Fort Tryon Park is a must-see for everyone.

Izaya Abdurakhmanov

MHC 100 Arts in NYC

History of Fort Tryon Park

Fort Tryon Park, home of The Cloisters Museum, is a site to behold for itself. Located in Washington Heights at one of the highest points in New York City, the park epitomizes beauty with its magnificent gardens, man-made landscapes, broad views, and high walls. One can see the Hudson River, the New Jersey Palisades, and the George Washington Bridge all from this single location. It is a place of friendly gathering where people can stroll through the gardens, sit and enjoy the view, or run and play. There is something to enjoy for people of all ages whether it be nature, history, architecture, or art; the park has it all. With all of this said, there is a rich history behind Fort Tryon Park which explains how it became the beauteous sight it is today.

Let us start from the 17th and 18th centuries where the area now known as Fort Tryon Park was discovered by Europeans and then used in war. Over three hundred years ago, the park was a  heavily forested area upon high ground where a Native American tribe called the Weckquaesgeek lived (nycgovparks). The tribe inhabited the land up until the late 1600s when the Dutch settled in the area and removed the inhabitants (Renner). After the Dutch colonists, came the English colonists, who as we all know ended up revolting against Great Britain in the American Revolution. This ties in to Fort Tryon’s history because the area was used in the Battle of Fort Washington during 1776 against Hessian (German mercenaries) troops (nycgovparks). Fort Tryon was not actually a fort but rather one of several posts along the Hudson River which was used as northern defense (Renner). This series of posts was dubbed “Fort Washington” hence the name of the battle (fort tryon park trust). The soldiers of the Continental Army were only able to withstand against the enemy troops temporarily before losing and being forced to retreat (Renner). It was then that the area was titled “Fort Tryon” by the British in honor of the Major General and last British governor of the New York colony, Sir William Tryon (nycgovparks). Fort Tryon is therefore known and remembered as the site of a loss for the American troops which is quite unexpected given a first look at the grand and beautiful appearance of the landmark.

During the Battle of Fort Washington, one of the earliest brave acts of American female patriotism was observed. In the battle, First Pennsylvania Militia artillery man, John Corbin was killed and his wife, Margaret Corbin, took his place manning the cannon ( Renner). Due to this display of courage, there is a plaque in the park commemorating her bravery and a whole circle and drive named after her near the park’s entrance (fort tryon park trust). Throughout the park there are also plaques honoring all the soldiers who fought against the Hessian troops. It is very remarkable that we get to stand on the ground where acts of bravery and patriotism occurred and the fact that such events are remembered through time is even more striking.

Enough about the historical significance of Fort Tryon Park. Let us now discuss how the park actually came to be built. Taking a huge leap from the late 1700s to the early 1900s, Fort Tryon had a number of fancy residences located within its area, with one of the most notable being the Tryon Hill Mansion owned by  Cornelius K.G. Billings (nycgovparks). Billings owned 25 acres of land and spent two million dollars in renovation (Renner).  In fact, it was the wealth of this man that allowed for the monument memorializing Margaret Corbin to be built in Fort Tryon (nycgovparks). John D. Rockefeller, Jr., the son of the extremely rich oil industrialist  John D. Rockefeller, bought Billings’s mansion in 1917 to initiate his plan to transform Fort Tryon into a park. He hired the Olmstead brothers, Frederick Law Olmstead, Jr. and John Charles Olmstead, as the architects for designing the park (Renner).

Over four years were spent reshaping the area’s landscape. The gardens and rocky terrains were actually designed by the Olmsteads despite their natural appearance. Adding to that, walkways were crafted so that park goers could enjoy long walks through the gardens where to the left and right were colorful plants to observe. Terraces were built so that they could not only look aesthetically pleasing from the outside, but also so that people had a higher ground to watch the wide surrounding of the Hudson River and New Jersey Palisades. Walls and Pillars were incorporated as well to give the park the image of a tall, strong fort. The park began getting built in 1927 and finally in 1935, Rockefeller opened the 67 acre park to the public. Rockefeller donated the park to New York City and even bought the New Jersey Palisades to ensure that the magnificent view would be kept for the public to take delight in (forttryonparktrust). In 1938, the Cloisters were added to Fort Tryon Park so that various works of medieval art could be on display for people to see. This section gained landmark status in 1974 (nycgovparks).  Several elements from European monasteries are present within the Cloisters which give it a rather dark yet artistic feel. The Cloisters are now a part of the Metropolitan Museum of Art. Ironically,  Fort Tryon Park itself became a New York City landmark in 1983, nine years after Cloisters (Renner).
Fort Tryon Park is not only a beautiful and grandiose landmark, but it is also a site of historical significance. From being inhabited by Native Americans to having a Revolutionary War battle fought within its walls, the park proves to have a rather fascinating past. Thanks to John D. Rockefeller, Jr. And the Olmstead Brothers architectural firm, the historical site became the majestic park it is today. Those who visit this great place have the opportunity to enjoy the vivid gardens, impressive views, rocky architecture, as well as the Cloisters museum. Seeing the park just once is not even enough to take all 67 acres  in.

Works Cited

“Fort Tryon Park.” New York City Department of Parks & Recreation. Web. 17 Dec. 2010. <http://www.nycgovparks.org/parks/forttryonpark/highlights/12315>.
“History of Fort Tryon Park.” Fort Tryon Park Trust. Web. 17 Dec. 2010. <http://www.forttryonparktrust.org/park/history.html>.
Renner, James. “Fort Tryon Park.” Washington Heights & Inwood Online – Manhattan, New York City. May 2003. Web. 17 Dec. 2010. <http://www.washington-heights.us/history/archives/fort_tryon_park_79.html>.

Agnieszka Gugala, Anthony Margulies

Prof. Judith Jablonka

MHC-100

11/1/10

Personal Response’s to Architecture Project

The National Museum of the American Indian

We chose to examine the Alexander Hamilton U.S. Custom House because it is not only a landmark for the country, but home to the National Museum of the American Indian. This meant that we could get a chance to examine architecture while simultaneously checking out the exhibits of the museum, which was quite appealing. Secondly, through some preliminary research, we were able to find out that Cass Gilbert, the same man who designed the Woolworth Building we visited as a class, also designed the Alexander Hamilton U.S. Custom House. Judging by the beauty of the Woolworth Building, we could tell in advance that the Custom House would be a work of art. Making our decision even easier was the fact that the Bowling Green street fair was to be held on the day we planned on visiting the building, which made the decision a no brainer.

Upon first sight of the building, both of us were a little confused. Here we were in downtown Manhattan, surrounded by the financial district’s skyscrapers, and suddenly there was open space surrounding a relatively short building. Even its color was different from everything else around it. Whereas the skyscrapers feature a modern black or silver, this building was a classic white color. The second thing we both noticed was the total difference in architecture of the building compared to the look of the buildings in Lower Manhattan. The grandness of the building, with the fresh green space before it, made for an oasis in the middle of the hustle and bustle found in the busiest district of America’s busiest city.

We spent at least half an hour marveling at the four main statues guarding the entrance to the House. These statues are riddled with symbolism and clues to the values of this commerce-driven city one hundred years ago. Every time we stepped back to reexamine a statue, we would find yet another symbol or figure that was hidden from our eyes before. It was fun to interpret these figures; each statue was a puzzle waiting to be cracked.

The front of the building itself gave us a whole new trove of images to decipher. From the heads of Mercury that appear periodically to the row of mysterious but familiar representatives of the seafaring nations, everything on the building offers up something interesting for the eyes. In this sense the design of the building makes its admiration an interactive experience, rather than a flat, passive kind of beauty.  The building is alive and imposing with all its intricacy.

The sense of awe is not diminished in the least upon entrance to the building’s interior. We had trouble paying attention to the security checkpoint’s requests for all that we had to take in. The famous rotunda was especially impressive. There’s a feeling of wonder that we simply could not capture on camera, no matter how hard we tried. The space is strong and impressive, but seems celestial and weightless at the same time. Perhaps this is exactly what Gilbert was attempting to accomplish through his design, and what the federal government wanted the wining design to reflect. If this building was meant to display the power of a democracy and the power of a firm yet righteous godly hand, that is exactly what it does.

Over the years, this jewel of Lower Manhattan has stood testament to the power of our nation. Changes in architecture and culture since the building’s era have impacted the way we interpret everything around us. But in the fashion typical of a timeless work of art, the House’s meaning has not been diminished by external factors. We had high expectations for Gilbert’s premiere work in New York City, and we can safely say those expectations were greatly exceeded. This building has all the qualities of a masterful work of art – excellent execution, engaging themes, and room for interpretation, all while maintaining a strong message. One hundred years after its completion, this message remains and rings clearly over the everyday activities occurring under its watch down Broadway. As we explored the street fair stretching before the House that day, we kept turning back to look at the building. And it silently looked back every time, a relic from another era, observing the city as it forever grows above and around the building’s foundations.

Agnieszka Gugala, Anthony Margulies

Prof. Judith Jablonka

MHC-100

11/1/10

Personal Response’s to Architecture Project

The National Museum of the American Indian

We chose to examine the Alexander Hamilton U.S. Custom House because it is not only a landmark for the country, but home to the National Museum of the American Indian. This meant that we could get a chance to examine architecture while simultaneously checking out the exhibits of the museum, which was quite appealing. Secondly, through some preliminary research, we were able to find out that Cass Gilbert, the same man who designed the Woolworth Building we visited as a class, also designed the Alexander Hamilton U.S. Custom House. Judging by the beauty of the Woolworth Building, we could tell in advance that the Custom House would be a work of art. Making our decision even easier was the fact that the Bowling Green street fair was to be held on the day we planned on visiting the building, which made the decision a no brainer.

Upon first sight of the building, both of us were a little confused. Here we were in downtown Manhattan, surrounded by the financial district’s skyscrapers, and suddenly there was open space surrounding a relatively short building. Even its color was different from everything else around it. Whereas the skyscrapers feature a modern black or silver, this building was a classic white color. The second thing we both noticed was the total difference in architecture of the building compared to the look of the buildings in Lower Manhattan. The grandness of the building, with the fresh green space before it, made for an oasis in the middle of the hustle and bustle found in the busiest district of America’s busiest city.

We spent at least half an hour marveling at the four main statues guarding the entrance to the House. These statues are riddled with symbolism and clues to the values of this commerce-driven city one hundred years ago. Every time we stepped back to reexamine a statue, we would find yet another symbol or figure that was hidden from our eyes before. It was fun to interpret these figures; each statue was a puzzle waiting to be cracked.

The front of the building itself gave us a whole new trove of images to decipher. From the heads of Mercury that appear periodically to the row of mysterious but familiar representatives of the seafaring nations, everything on the building offers up something interesting for the eyes. In this sense the design of the building makes its admiration an interactive experience, rather than a flat, passive kind of beauty.  The building is alive and imposing with all its intricacy.

The sense of awe is not diminished in the least upon entrance to the building’s interior. We had trouble paying attention to the security checkpoint’s requests for all that we had to take in. The famous rotunda was especially impressive. There’s a feeling of wonder that we simply could not capture on camera, no matter how hard we tried. The space is strong and impressive, but seems celestial and weightless at the same time. Perhaps this is exactly what Gilbert was attempting to accomplish through his design, and what the federal government wanted the wining design to reflect. If this building was meant to display the power of a democracy and the power of a firm yet righteous godly hand, that is exactly what it does.

Over the years, this jewel of Lower Manhattan has stood testament to the power of our nation. Changes in architecture and culture since the building’s era have impacted the way we interpret everything around us. But in the fashion typical of a timeless work of art, the House’s meaning has not been diminished by external factors. We had high expectations for Gilbert’s premiere work in New York City, and we can safely say those expectations were greatly exceeded. This building has all the qualities of a masterful work of art – excellent execution, engaging themes, and room for interpretation, all while maintaining a strong message. One hundred years after its completion, this message remains and rings clearly over the everyday activities occurring under its watch down Broadway. As we explored the street fair stretching before the House that day, we kept turning back to look at the building. And it silently looked back every time, a relic from another era, observing the city as it forever grows above and around the building’s foundations.

Polina Mikhelzon

MHC Seminar: Arts in NYC

History of Coney Island: Home of the Cyclone, the Parachute Jump, and the Wonder Wheel

Considered a “playground of the world” since the early 1800s, Coney Island is an icon of American fun. Throughout the 1900s, spectators from all around New York have been lured to Coney Island with George Tilyou’s grinning “funny face” logo for Steeplechase Park, Luna Park’s 1.3 million electric lights, and the giant tower at Dreamland. Coney Island is the birthplace of the American amusement park, the modern roller coaster, and the hotdog, so it’s no surprise that it brought together families and friends to the southernmost point of Brooklyn, New York every summer.

According to historians, the origin of Coney Island is still largely a mystery. The most common theory for the root of its name comes from the Dutch, who settled Manhattan in 1624 and inhabited Coney Island soon afterward. The Dutch word for rabbit was “konijn” and the island had a large population of wild rabbits, which would explain where the word “Coney” derived from.

The area first gained popularity in 1829, when the Coney Island House hotel opened. This marked the beginning of Coney Island’s status as a seaside resort, which contained a strictly upper-class clientele. In 1875, the Coney Island railroad was completed, granting access to its beach. This caused more hotels to sprout all over Coney Island, including the Oriental Hotel and the Brighton Beach Hotel. It also resulted in a surge of visitors, inciting them through horse racing, gambling, and prostitution. By 1878, nearly 60,000 people were coming to the eastern side of Coney Island, where the hotels were located.

In 1884, La Marcus Thompson built the Switchback Railway, the first roller coaster in America, at Coney Island. By 1895, entire amusement parks made their way into Coney Island. Captain Paul Boyton opened Sea-Lion Park, the first outdoor amusement park in Coney Island, while George C. Tilyou opened Steeplechase Park. In 1903, Frederic Thompson and Skip Dundy exposed Luna Park, known as an “Electric Eden,” to the public. Soon after, in 1904, came Dreamland Park, which expressed morals of the day to visitors.

The thrill, suspense, and spontaneity of Coney Island were undeniably what drew in its patrons. Working-class families used Coney Island as a get-away from the stress of everyday life and to explore amusement that they’ve never heard of before. Amusement parks allowed owners to keep prostitutes, gamblers, and dangerous gangs away from their customers. The constant hunger for more exciting forms of rides and entertainment encouraged architects and designers to bring roller coasters into the picture. As a result, there were over thirty coasters built at Coney from 1884 through the 1930’s. The first economically successful roller coaster, the first full-circuit coaster, and the first lift-hill were all established in Coney Island. Its amusement parks all thrived from the wonders of gravity.

This was now the Golden Age of Roller Coasters, also deemed the Wooden Age. Clattering, jittering, and wobbling coasters made of wood provided the kind of terror that kept people coming back. Coney Island’s Cyclone, built in 1927, was the epitome of the wooden form. With its 85-foot drop executed at 60 miles an hour, the Cyclone provided passengers with tons of airtime, lateral acceleration, and only a lap bar to hold them in place. Riders claimed that the Cyclone was scarier than flying an airplane. It is believed to be the most successful ride put up in Coney, because it gave the public that ultimate high-thrill that they yearned for. The Cyclone is still used as a template for other roller coasters today.

Another display of the public’s desire for endless excitement is the Parachute Jump. Often referred to as Brooklyn’s Eiffel Tower, the 262-foot-high Parachute Jump became Coney Island’s most exciting ride. Originally designed to train troops to fight in wars, the Jump had a highly favorable public reaction, so its military design was transformed into general use. It was redesigned for safe landing, and the military style single sling seat was replaced with a more cozy, and romantic, two-passenger seat. Eventually, the chute was enlarged, and in 1940, it was sold to the Tilyou family of Steeplechase Park for $150,000. The ride prospered during the war years, when people had a great fascination with military gadgets. However, public interest in military equipment died down after WWII, and the Jump required too much human labor and was too sensitive to wind conditions.  Profit diminished without much public demand. Even though Steeplechase Park itself closed after the summer of 1964, the Parachute Jump remained in operation through the 1950s and 1960s. The Jump finally closed in 1968 due to safety concerns and became a New York City-designated landmark in 1989.

The third official NYC landmark located in Coney Island is the Wonder Wheel. Opened in 1920, the 150-foot tall ferris wheel can hold 144 people at once, giving riders a broad view of the Atlantic Ocean, the Jersey Shore, and the NYC Skyline. Each year, the entire 400,000 lb. ride is overhauled and painted to protect it from the effects of weather, wear and tear, and to serve the demands of the public to keep it running. When Coney Island was suffering economically in the 1980s, Denos Vourderis recognized the joy and summer pleasures of the Coney Island beach and opened up Denos Wonder Wheel Amusement and Kiddie Park. He continued to add new attractions, rides, and games every year.

Due to the excessive fires and the assembly of more housing projects in the neighborhood, the last of the great parks closed in 1964. However, Coney Island did not vanish. Another park, Astroland, opened in 1962 and managed to stay in business despite previous disasters and discouragement. The Cyclone roller coaster still continues to take brave souls along its frightening rails. The Parachute Jump still stands at the edge of its former park site. The Wonder Wheel, with its design dating back to the early 20th century, still lifts lovers to a bird’s eye view of the beach and the Atlantic Ocean.

Bibliography

“The American Experience | Coney Island.” PBS: Public Broadcasting Service. Web. 02 Nov. 2010. <http://www.pbs.org/wgbh/amex/coney/index.html>.

“Coney Island | Roller Coaster History.” Ultimate Rollercoaster | Roller Coasters, Theme Parks, Thrill Rides. Web. 02 Nov. 2010. <http://www.ultimaterollercoaster.com/coasters/history/early_1900/coney_island.shtml>.

“Coney Island Parachute Drop, a History – Northstar Gallery.” Fine Art Photography – Northstar Gallery. Web. 02 Nov. 2010. <http://northstargallery.com/pages/historyofpara.htm>.

Deno’s Wonder Wheel. Web. 02 Nov. 2010. <http://www.wonderwheel.com/factsandhistorymore.html>.

“Site History.” Van Alen Institute – News. Web. 02 Nov. 2010. <http://www.vanalen.org/competitions/ConeyIsland/siteH.htm>.

Thom Mayne and the New Academic Building at Cooper Union

The first time I saw the newest addition to the Cooper Union buildings, I was with a friend who wasted no time in educating me in all of its dubious qualities. Her stories of the experiences of students with the building in the midst of it being built provided plenty examples of its original flaws, such as the time it took to finish the top three floors while students occupied space in the lower floors. Though she was initially put off by its aesthetic and skeptical of its design, she did not forget to mention its many virtues and positive responses by critics of architecture. The world-renowned architect Thom Mayne was chosen to design the building in 2006. For better or worse, the building has certainly gained a sort of notoriety since then.

Cooper Union’s new academic building is just one of the many building projects that Mayne has been involved in through the firm he founded, Morphosis. Other recent works of his include several projects for the United States government, such as a Federal Office Building in San Francisco, California, a courthouse in Eugene, Oregon, and the NOAA Satellite Operation Control Facility in Suitland, Maryland. He has been contracted to design private residences in the past, won a competition to design the 2012 Olympic Village in New York City, and has innumerable other projects completed. One of his most widely recognized projects to date is the Diamond Ranch High School in California. The high quality of his work and his clear vision as an architect over the span of his career has won him the distinction of the prestigious Pritzker Architecture Prize. His work is so varied and prolific that over time, he has achieved twenty-five Progressive Architecture Awards, and no less than fifty-four American institute of Architect awards.

Mayne seems to defy traditional styles to create something new with his designs. As lead designer of his firm Morphosis Architects, he has always worked “with the goal of developing an architectural style that would surpass the boundaries of traditional forms and materials” (News From the Cooper Union). Even in articles featuring him as the recipient of the Pritzker Architecture Prize in 2005, he was referred to as a “maverick” and the “angry young man of Los Angeles Architecture” (Pogebrin). His uniquely bold style has certainly gained popularity over the years, as evidenced by the demand from the public and private sector for his firm to design dozens of new, different building projects.

The startlingly different face of the new academic building in contrast to the ones surrounding it gives all of Cooper Square a new look. In articles about the building on Cooper Union’s own website, similarities in shape and size have been found of the new academic building to its neighbor across the square. That, however, is where the superficial similarities end. The ultra modern appearance of the building, enhanced by the materials used—concrete, stainless steel, etc.—stands in utter contrast to the older brownstone buildings.

The congruity of intention with which the buildings were built, however, cannot go unmentioned. As the president of Cooper Union, Dr. George Cambell commented concerning Mayne’s ideas behind the design, “the belief that space can inspire learning embodies Cooper Union’s intention to create an academic building that will have the same impact that the Foundation Building had on higher education in 1859.” The old Cooper Union Foundation Building was a model of innovation when it was first built in 1853 (completed in 1859) because of the newly invented iron materials used in its construction and because of its passenger elevator. Likewise, the new academic building was built with several different goals in mind, all of them trying to bring something new and innovative to Cooper Union, whether it be about keeping to rigorous new environmental standards or creating a new atmosphere conducive to social and academic growth.

The interior of the new academic building was designed around an open staircase that extends to the top of the nine-story structure. The space is specifically meant to bring the students together and foster more interdisciplinary interaction. Where the different schools within the Cooper Union were previously housed in separate buildings, the new academic building brings them together. Following this line of thought, the passenger elevators within the school open only onto the fifth and eighth floors forcing students not only to exercise by climbing at least one set of stairs to get to classes, but also to venture out onto the architectural marvel that is the spiraling stairs and walkways. Everything about this building, from the opaque outer walls, to the use of indoor windows, student lounges, and open design is to encourage the free flow of ideas and a feeling of camaraderie.

Of course, the never-ending stairs and light filled space have more to them than just the idealistic: they contribute to its environmentally friendly design. The limited use of the elevators in addition to the use of natural lighting and the pseudo-insulating properties of the outer steel layer of the building helped it recently to achieve the LEED Platinum rating from the U.S. Green Building Council, a higher rating than was ever previously projected.

Mayne’s stylistic fingerprints are all over the new academic building. From the genius behind the environmental aspects to the creative shaping of the internal space and adherence to the principles set forth by the founder himself, while still keeping the bold modern style he is known for, the brilliance of the architect shines as clearly as the sun through the stainless steel of the building’s walls.

Works Cited

News From the Cooper Union. The Cooper Union for the Advancement of Science and Art. Web. 3 Nov. 2010.

Ouroussoff, Nicolai. “The Civic Value of a Bold Statement.” New York Times, 29 June 2009. Print.

Pogrebin, Robin. “American Maverick Wins Pritzker Prize,” New York Times, 21 Nov. 2005. Print.

“Thom Mayne.” Encyclopædia Britannica. 2010. Encyclopædia Britannica Online. Web. 02 Nov. 2010