NY 2014 New York City numĂŠro 2014 - 31 Oct. au 10 Nov.
Sommaire Brooklyn Bridge Pont
Lincoln center Théatre
St John The divine Eglise
Bushwick intel park Parc
MET Musée
St Patrick’s Cathedral Eglise
citicorp center Bureaux
moma Musée
St Regis Hotel Hotel
Chrysler Building Bureaux
New Art Museum Eglise
Time warner center Bureaux
Dakota Apartements Habitation
New York Public Library Trinity church Eglise Library
Empire State Building Bureaux
One World Trad Center TWA Terminal Aeroport Bureaux
flatiron building Bureaux
Plaza hotel Hotel
Waldorf-Astoria Hotel Hotel
Grand Central Station Gare
Radio city Music hall Theatre
Woolworth Building Bureau
Guggenheim Museum Musée
Seagram Building Bureaux
Hearst Magazine Bureaux
Siége de l’ONU Bureau
Leaver House Bureau
Statue de la liberte Monument
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brook lyn bridge
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Architecte John Roebling Adresse East River. Park Row, Manhattan to Adams Street, Brooklyn, New York, USA Date de réalisation 1867-1883 Style Gothic piers, Structural Expressionist cables and bridge deck Construction Steel cable, Stone masonry piers Type Suspension Bridge
The Brooklyn Bridge, one of the oldest suspension bridges in the United States, stretches 5,989 feet (1825 m)[1] over the East River connecting the New York City boroughs of Manhattan and Brooklyn. On completion, it was the largest suspension bridge in the world and the first steel-wire suspension bridge. Originally referred to as the New York and Brooklyn Bridge, it was dubbed the Brooklyn Bridge in an 1867 letter to the editor of the Brooklyn Daily Eagle,[2] and formally so named by the city government in 1915. Since its opening, it has become an iconic part of the New York skyline. In 1964 it was designated a National Historic Landmark.
York, and perhaps the world, the Brooklyn Bridge is as valuable and breathtaking today as it was the day it was built. Designed by John Roebling in the late 1860s and completed in 1883 by his son and daughter-in-law Washington and Emily Roebling, the bridge changed the world’s attitude toward steel construction, revolutionized suspension bridge building, and transformed New York into the city it is today.
Due to the East River, which is not technically a river at all but an exceedingly turbulent tidal strait, New York City and Brooklyn spent much of the 19th century as separate cities—New York being the 1st largest and Brooklyn the 3rd largest but the fastest growing. Prior to 1883 the only connection between these two As one of oldest and arguably the most large cities was a system of inefficient, cherished suspension bridges in New overcrowded, unsafe, and unreliable
brook lyn bridge ferries. Something needed to be done, and serious talk about bridging the two cities goes as far back as 1800. No politician or businessman could resist dreaming about uniting the two cities. The Times reported the bridge would be like a long-needed pressure valve for New York to alleviate overcrowding and crime. For Brooklyn it would increase its importance, property value and give the people commuting to New York a safe, reliable alternative to the ferries. Proposals for wooden bridges, wire bridges, chain bridges, and even a tunnel streamed in over the years, but none rose to meet the challenges of the East River. The river was not only turbulent and had a seafloor that would require the deepest cassion foundations of its day, but the river also happened to be “one of the busiest stretches of navigable saltwater anywhere on earth.” Together these challenges and the significance of the project demanded an architectural and engineering masterpiece. In 1867 Roebling’s monumental gesture across the East River answered that call. He proposed a suspension bridge hung between two massive gothic towers that would nearly reach from shore to shore in “one grand flying leap.” In order to keep the waterways unobstructed he knew the central span had to be both high and long. Rather than traversing perfectly horizontal, Roebling designed the bridge to bow sensuously upward from 119 feet at the towers to a height of 130 feet. This was 30 feet higher than Robert Stephenson’s Britannia Bridge over the Menai Strait, and the nearly sixteen hundred foot span between towers made it the single longest span in the world until 1903. To accomplish this feat Roebling had to design the two towers strong enough to shoulder both the load of the four 15” steel cables carrying the roadway and tall enough to hold the span high enough as not to interfere with the river traffic. These granite and limestone towers were to be the most massive structures built on the continent, and at 276.5 feet they would be taller than every building in New York except the spire of Trinity of Church. Adding to the grandeur, the roadways pass through these towers via gothic arches that “rise more than a hundred feet, like majestic cathedral windows or the portals of triumphal gateways.”
Roebling said of the towers, “the great towers, will serve as landmarks to the adjoining cities, and they will be entitled to be ranked as national monuments.” Fortuitously, the bridge became just that, a National Historic Landmark, in 1964. Perhaps the most enjoyed and unique feature of Roebling’s design is the elevated boardwalk for pedestrians. Similar to Fredrick Law Olmsted who had completed Central Park in 1873, Roebling felt the value of such a promenade would be incalculable to a crowded commercial city. It would allow for leisure, fresher air, and uninterrupted views of the city. David McCullough writes, “the roadways and tracks [were] at one level for the everyday traffic of life, while the walkway above was for the spirit.” Yet, it was Roebling’s insistence on using steel wire cables that has made the greatest impact on architecture and humanity. No bridge in the country or building in the world used steel before the Brooklyn Bridge. Prior to that all wire bridges used iron as most engineers questioned steel’s structural properties. However, once the largest suspension bridge ever built demonstrated its strength, architects and engineers never looked back. It was Roebling’s use of steel that would eventually lead to the buildings that now tower over his great bridge.
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Architecte Kiss + Cathcart Adresse Brooklyn, NY, USA Date de réalisation 2013 Style Moderne Type Parc
From the architect. Bushwick Inlet Park transforms the Brooklyn waterfront from a brownfield industrial strip into a public park. Located in the Williamsburg section of Brooklyn, the design is the first step of an ambitious waterfront redevelopment along the East River. The design team has integrated a program of athletic fields, community facility and a NYC Park maintenance and operation facility into a 6.2-acre park.
The Park wraps over the building on the west side, turning the building into a green hill so that 100% of the site is accessible to the public. A zigzag path provides ADA access to the top, where a large wood-framed canopy provides shade and views over the play fields to the Manhattan skyline. Direct building access for the public and the Parks staff is provided from the street edge below.
Citicorp Building
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Architecte Hugh Stubbins Associates (design architects), Emery Roth & Sons (architects) Adresse Lexington Avenue between 53rd and 54th Streets Date de réalisation 1972-78 Style International Style II Construction Four massive 114 foot (35 m) high columns, positioned at the center of each side, rather than at the corners. This design allowed the northwest corner of the building to cantilever 72 feet (22 m) over the new church Type Bureau
This 900-foot aluminum and glass skyscraper is the fourth tallest building in New York and the tenth tallest in the world. The entire structure rests on a central core and four outriding column-like towers. A computer driven load mass damper enables the reduced number of vertical supports and ensures the stability of this complex structure. Double-decker elevator cars reduce the area devoted to the vertical circulation core, leaving more space available for offices. With so few interior columns, ample room is available for numerous amenities, such as a six-story retail wing and a sunken plaza that leads directly to the subway. Plans for creating residential space on the upper floors were abandoned due to zoning restrictions. Regardless, as a mixed-use
complex, this building has more in common with Art Deco skyscrapers than with the purely corporate structures of the International Style. The obliquely slanting roof--originally designed to hold solar panels--embodies another break with the practices of corporate high modernism. Standing out among the flat-roofed prisms of midtown, Citicorp’s pitched roof has become a symbol of the corporation, a marker of corporate identity in an emerging area. The building’s bold presence helped to revitalize the commercial area located to the east of Park Avenue.
CHrysler Building
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Chrysler Building Informations générales
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Architecte The building is clad in white brick and William Van Alen dark gray brickwork is used as horizonAdresse tal decoration to enhance the window 405 Lexington Avenue at 42nd Street , rows. The eccentric crescent-shaped Manhattan, New York steps of the spire (spire scaffolding) were Date de réalisation made of stainless steel (or rather, similar 1928-1930 nirosta chrome-nickel steel) as a stylized Style sunburst motif, and underneath it steel Art Deco gargoyles, depicting American eagles Construction (image), stare over the city. Sculptures 77 floors modeled after Chrysler automobile ra319.5m (1048 feet) high, diator caps (image) decorate the lower 29961 tons of steel, setbacks, along with ornaments of car 3,826,000 bricks, wheels. Near 5000 windows. Cost: $ 20,000,000
The three stories high, upwards tapering entrance lobby has a triangular form, with entrances from three sides, Lexington Avenue, 42nd and 43rd Streets. The lobby is lavishly decorated with Red Moroccan marble walls, sienna-coloured floor and onyx, blue marble and steel in Art Deco compositions. The ceiling murals, painted by Edward Trumbull, praise the modern-day technical progress -- and of course the building itself and its builders at work. The lobby was refurbished in 1978 by JCS Design Assocs. and Joseph Pell Lombardi.
CHrysler Building L HISTOIRE The Chrysler Building is an Art Deco skyscraper in New York City, located on the east side of Manhattan at the intersection of 42nd Street and Lexington Avenue. Standing at 319 m (1,047 ft) high, it was briefly the world’s tallest building before it was surpassed by the Empire State Building in 1931. However, the Chrysler Building remains the world’s tallest brick building. After the destruction of the World Trade Center, it was again the second tallest building in New York City until December 2007, when the spire was raised on the 365.8 m (1,200 ft) Bank of America building, pushing the Chrysler Building into third position. In addition, the New York Times Building, which opened in 2007, is exactly tied with the Chrysler Building in height, making the two buildings tied for 3rd position. Despite the change in tallness ranking in New York, the Chrysler Building is still a classic example of Art Deco architecture and considered by many, at least among contemporary architects, to be one of the finest buildings in New York City. In a skyline that has developed New York as a destination for architects and city lovers alike, the Chrysler Building by William Van Alen is identifiable from any
distance for its distinguishable style and profile against its surroundings. With the initial intention to be the world’s tallest building, it remained so for only eleven months until it was surpassed by the Empire State Building in 1931. The Chrysler Building is a classic example of the Art Deco style, from the street to its terraced crown. Interior and exterior alike, it is admired for its distinctive ornamentation based on features that were also found on Chrysler automobiles at the time. When Walter Chrysler took over the lease of the proposed office building in construction, he was interested in building the highest structure known to date. As this was the goal of most architects across the table, William Van Alen kept the 185-foot spire addition a secret until it was delivered to the site in sections to be erected in a surprising 90 minutes. This unbelievably speedy addition paralleled the frantic pace of construction of the rest of the skyscraper; an average of four floors were completed per week. Costing a total of $20,000,000, the unique skyscraper is made with 29,961 tons of steel, about 3,826,000 bricks, and 5,000 windows. All the bricks were manually laid by hand, creating non-loadbearing walls. To create this Art Deco masterpiece, tradesmen with specialized skills gathered on the site, coordinating between contractors, builders, engineers and other building services experts. The white and dark gray brickwork of the facade emphasizes the horizontality of the rows of windows. The stepping spires are made of stainless steel with a stylized sunburst motif, and sit just above a series of gargoyles that depict American eagles which stare out over the city. More noticeable connections between the exterior of the building and the Chrysler car are the sculptures modeled after radiator caps and ornaments of car wheels that decorate the lower setbacks. Standing 319.5 meters (1048 feet) high, the Chrysler Building houses 77 floors, including a lobby three stories high with entrances from three sides of the building, Lexington Avenue, 42nd and 43rd Streets. Its triangular form is lavishly decorated with Red Moroccan marble walls, sienna-colored floor, onyx, blue
marble and steel. Artist Edward Trumbull was hired to paint murals on the ceiling; these paintings and other parts of the interior were refurbished in 1978 by JCS Design Associates and Joseph Pell Lombardi. The Chrysler Building was purchased in 1957 by real estate moguls Sol Goldman and Alex DiLorenzo, and was later sold to the Massachusetts Mutual Life Insurance Company. The new owners refurbished the facade and renovated in 1978, and then sold again to Jack Kent Cooke, an investor. In 1976, the Chrysler Building was declared a National Historic Landmark. In 2007, the Chrysler Building was ranked ninth on the List of America’s Favorite Architecture by the American Institute of Architects. It remains one of the most recognizable buildings, as it has been featured in several movies, including Godzilla, Armageddon, Deep Impact, Fantastic Four: Rise of the Silver Surfer, Sex and the City and Spider-Man.
CHrysler Building
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Architecte Henry J Hardenbergh Adresse 1 West 72nd Street Date de réalisation 1881-84 Style German Gothic, French Renaissance English Victorian Construction Its load-bearing brick and sandstone walls are reinforced, corner pavilions and decorative terra-cotta panels and moldings. The structure is capped by a steeply pitched slate and copper roof decorated with ornate railings, stepped dormers, finials and pediments. Type Logement
The Dakota, constructed from October 25, 1880 to October 27, 1884, is an apartment building. The architectural firm of Henry Janeway Hardenbergh was commissioned to do the design for Edward Clark, head of the Singer Sewing Machine Company whose firm also designed the Plaza Hotel. The building’s high gables and deep roofs with a profusion of dormers, terracotta spandrels and panels, niches, balconies and balustrades give it a North German Renaissance character, an echo of a Hanseatic townhall. Nevertheless, its layout and floor plan betray a strong influence of French architectural trends in housing design that had become known in New York in the 1870s.
According to popular legend, the Dakota was so named because at the time it was built, the Upper West Side of Manhattan was sparsely inhabited and considered as remote as the Dakota Territory. However, the earliest recorded appearance of this account is in a 1933 newspaper story. It is more likely that the building was named «The Dakota» because of Clark’s fondness for the names of the new western states and territories. High above the 72nd Street entrance, the figure of a Dakota Indian keeps watch. The Dakota was added to the National Register of Historic Places in 1972, and was declared a National Historic Landmark in 1976.
CHrysler Building 77th Street and Amsterdam Avenue, elevators lifted carriages to upper floors. The Le Dakota est construit autour d’une cour «Dakota Stables» building was still in opeaccessible par une porte cochère assez ration as a garage until February 2007, but large pour laisser passer des attelages à it is now slated to be developed by the Related Companies into a multimillion dollar chevaux. condominium project. L’agencement des appartements est similaire au style français pendant cette The general layout of the apartments is période, avec des pièces accessibles en also in the French style of the period, with enfilade mais également depuis un hall ou all major rooms not only connected to un couloir. Cet agencement permet égale- each other en filade in the traditional way, ment au personnel d’avoir des circulations but also accessible from a hall or corridor, an arrangement that allowed a natural midiscrètes. gration for guests from one room to anoLes pièces principales donnent sur la rue ther, especially on festive occasions, yet et les pièces secondaires sur la cour. C’est gave service staff discreet separate circul’un des premiers immeubles de New York lation patterns that offered service access to the main rooms. The principal rooms à avoir des appartements traversants. such as parlors or the master bedroom face the street, while the dining room, Vue de la façade sud the kitchen, and other auxiliary rooms are À l’époque, le Dakota avait 65 apparte- oriented on the courtyard. Apartments are ments, avec 4 à 20 chambres. Ils étaient thus aired from two sides, which was a retous différents. Les appartements étaient lative novelty in New York at the time. (In accessibles par des ascenseurs placés the Stuyvesant building, which was built in aux quatre coins de la cour. Des escaliers 1869, a mere ten years earlier, and which et des ascenseurs de service desservaient is considered New York’s first apartment les cuisines. Les infrastructures étaient building in the French style, many apartexceptionnelles pour l’époque. L’électrici- ments have windows to one side only.) té était produite sur place, et l’immeuble Some of the drawing rooms were 49 ft. (about 15 m) long, and many of the ceipossédait le chauffage central. lings are 14 ft (4.3 m) high; the floors are Le Dakota a connu un succès immé- inlaid with mahogany, oak, and cherry (aldiat, les appartements étaient tous loués though in the apartment of Clark, the builavant que l’immeuble ne soit ouvert. Pour ding’s founder, some floors were famously la haute société de New York, c’était à inlaid with sterling silver). la mode d’habiter dans ce genre d’immeubles, et le succès du Dakota a engendré la construction de nombreux autres immeubles d’appartements de luxe à New York. Architecture
John Lennon, le cofondateur des Beatles et son épouse Yoko Ono habitaient un appartement du Dakota Building depuis le milieu des années 1970. Le 8 décembre 1980, alors qu’ils reviennent d’une session en studio, pour son dernier disque Double Fantasy, Lennon est assassiné devant le bâtiment par un déséquilibré, Mark David Chapman, à qui il avait signé un autographe quelques heures plus tôt, et qui l’avait attendu pour commettre son crime. Le Dakota Building est aussi entré dans l’histoire à cause de ce drame. Other Entrance.The Dakota is built in a squareshape around a central courtyard, accessible through the arched passage of the main entrance, a porte cochère large enough that horse-drawn carriages could pass through, letting their passengers disembark sheltered from the weather. In the Dakota multi-story stable building at
Originally, the Dakota had 65 apartments with four to twenty rooms, no two alike. These apartments are accessed by staircases and elevators placed in the four corners of the courtyard. Separate service stairs and elevators serving the kitchens are located in mid-block. Built to cater for the well-to-do, the Dakota featured many amenities and a modern infrastructure that was exceptional for the time. The building has a large dining hall; meals could also be sent up to the apartments by dumbwaiters. Electricity was generated by an in-house power plant, and the building has central heating. Besides servants’ quarters, there was a playroom and a gymnasium under the roof. (In later years, these spaces on the tenth floor were—for economic reasons—converted into apartments, too.) The lot of the Dakota also comprised a garden and private croquet lawns and a tennis court behind the building between 72nd and 73rd Streets. The Dakota was a huge social success from the very start (all apartments were rented before the building opened), but a long-term drain on the fortune of Clark (who died before it was completed) and his heirs. For the high society of New York, it became fashionable to live in such a building, or to rent at least an apartment as a secondary city residence, and the Dakota’s success prompted the construction of many other luxury apartment buildings in New York City.
EMPIRE STATE BUILDING
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EMPIRE STATE BUILDING Informations générales
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Architecte Shreve, Lamb & Harmon, William F. Lamb as chief designer Adresse 350 Fifth Ave., bet. W33 and W34 Date de réalisation 1930-1931 Style Art Deco Construction Steel frame 102 floors, 1252 feet, 381 meters high. Effective use of setbacks to emphasize tower.
The building is clad in Indiana limestone and granite, with the mullions lined in shiny aluminium. There are in all 6,500 windows, with spandrels sandblasted to blend their tone to that of the windows, visually creating the vertical striping on the facade. The windows and spandrels are also flush with the limestone facing, an aesthetic and economic decision. Petites astuces : il est conseillé de monter à l’Empire State Building soit le matin à l’ouverture, soit avant la fermeture afin d’éviter la horde des touristes qui s’empressent généralement de grimper en haut de la tour en fin de journée et profiter du couchée de soleil sur New York. L’Empire State Building est inclus dans le «CityPass».
EMPIRE STATE BUILDING L HISTOIRE L’Empire State Building est un gratte-ciel de style Art déco situé dans l’arrondissement de Manhattan, à New York. Il est situé dans le quartier de Midtown au 350 de la 5e Avenue, entre les 33e et 34e rues. Inauguré le 1er mai 1931, il mesure 381 mètres (443,2 m avec l’antenne) et compte 102 étages. Il est le deuxième plus grand immeuble de la ville de New York, depuis avril 2012 où la construction de la tour One World Trade Center a atteint une hauteur supérieure (il avait retrouvé sa première place à la suite de l’attentat terroriste du 11 septembre 2001 qui a causé la destruction des tours jumelles du World Trade Center) et le quatrième du continent américain derrière deux tours de Chicago, la Willis Tower et la Trump Tower, et le One World Trade Center. L’Empire State Building a été pendant des décennies le plus haut immeuble du monde. Il tire son nom du surnom de l’État de New York, The Empire State. Ce même « surnom » apparaît en outre sur les plaques d’immatriculation automobile.
can Society of Civil Engineers (l’association américaine des ingénieurs en génie civil), l’Empire State Building est un immeuble caractéristique de la skyline new yorkaise, et compte parmi les symboles les plus célèbres de New York, au même titre que la Tour Eiffel pour Paris. L’Empire State Building est situé aux Etats-Unis. Il a été construit à New York dans le quartier de Manhattan. William Lamb est l’un des architectes qui a aidé à construire l’Empire State Building. Les travaux ont commencé le 17 mars 1930 et ont été achevés 410 jours après. Nous pouvons encore le visiter.
Construit en 1930, ce gratte-ciel était un défi du capitalisme américain. Il fut construit en 1 an et 45 jours puis inauguré en 1933. Après le tragique effondrement des World Trade Center, il est redevenu le plus haut gratte-ciel de Manhattan (448 mètres) en attendant que la nouvelle One World Trade Center soit fini.Avant de prendre l’ascenseur et d’atteindre les sommets, j’arrive dans le hall du building et reste subjugué par Considéré comme l’une des sept mer- l’entrée Art -déco tout en marbre sans veilles du monde moderne par l’Ameri- oublié une représentation en relief du
bâtiment tout en aluminium. En 1 minute à peine, l’ascenseur s’élève jusqu’au 80ème étage. De là, on est dirigé vers un autre élévateur afin d’atteindre le 86ème étage (320 m) et le premier observatoire. De jour comme de nuit le spectacle est stupéfiant ! Côté est, on découvre l’immensité des boroughs de Brooklyn et du Queens. Côté ouest, c’est New-Jersey et ses quartiers résidentiels. Mais il faut avouer que les vues les plus spectaculaires se situent sur les côtés Nord et Sud. Commençons par le nord avec tous les gratte-ciels de Midtown, Central Park le poumon vert de Manhattan et tout au nord le Bronx. Côté sud, je reste émerveillé par les tours impressionnantes de Financial District qui s’érige à ma hauteur. j’aperçois également toutes les avenues mythiques de Manhattan bien dessinées et droites, les couleurs des affiches publicitaires de Times Square. Un panorama à couper le souffle !
faltiron building
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Architecte Daniel H. Burnham & Co. Adresse 175 Fifth Ave. Date de réalisation 1902 Style Chicago School Construction Steel frame which is covered with a non-load-bearing limestone and terra-cotta facade 22 floors, 87m (285 feet) high Type Bureaux
The Fuller Building, better known as the Flatiron Building, was one of the tallest buildings in New York City upon its completion in 1902. The building, at 175 Fifth Avenue in the borough of Manhattan, sits on a triangular island block at 23rd Street, Fifth Avenue, and Broadway, facing Madison Square. The Flatiron Building was designed by Chicago’s Daniel Burnham in the BeauxArts style. Like a classical Greek column, its limestone and glazed terra-cotta façade is separated into three parts horizontally. Since it was one of the first buildings to use a steel skeleton, the building could be constructed to 285 feet (87 m), which would have been very difficult with other construction methods of that time. The initial design by Daniel Burnham
shows a similar design to the one constructed, but with a far more elaborate crown with numerous setbacks near the pinnacle. A clock face can also be seen. However, this was later removed from the design. Manhattan has been and always will be synonymous with the overarching imposition of the grid system that defines the entire city, but each block as part of a larger collective system. With histories of Dutch and English influence, the Commissioners’ Grid System imposed in 1811 has moments of discontinuity where streets such as Canal and Broadway cut across the grid to form residual spaces that are typically too small or dif-
faltiron building ficult to develop. However, the triangular residual space created by the intersections of 5th Ave., Broadway, and 23rd street have created one of the most recognized and famous buildings in the discipline of architecture. The land of that the Flatiron Building now stands upon went through many hands before it became what we see today. Often underdeveloped and in a purgatorial state shifting between owners until it was purchased by Harry S. Black, CEO of the Fuller Company – a construction firm specializing in steel and skyscraper construction – for the headquarters of the Fuller Company. Thereafter, Black commissioned Chicago architect Daniel Burnham to design the Fuller Building – later changed to the Flatiron Building due to historical site references. Prior to Burnham’s commission of the Flatiron Building, he had been designing steel skyscrapers in Chicago, most notably the Rookery and the Reliance Building. With the Flatiron Building, Burnham use the sites footprint to generate the base of the building; he employed a Renaissance design aesthetic with a Beaux-Arts styling that resulted in a tripartite steel skyscraper resembling a column of antiquity: base, shaft, and capital. Similar to older precedents in architecture, the Flatiron Building appears heavy and solid, as it has a firm base before it becomes slender as it moves towards the capital. The Beaux-Arts styling and detailing give the steel scraper a touch of architectural precedent found Europe at the time. The building is clad in limestone and glazed terra cotta, which amplifies the heavy,
yet rich aesthetic. One of the most interesting aspects of the Flatiron Building is that its design accentuates the triangular site, which is due to its acute angel at 5th and Broadway that creates the cornered condition; the northern vertex of the building is only 6.5 feet [2m] wide. Its narrow profile creates an interesting spatial configuration within the building where slanting walls accommodate for the narrow corner offices that open up to panoramic views of Midtown Manhattan. During construction, New Yorker’s believed that the Flatiron’s steel frame would not stand up to the strong winds Manhattan faced. Despite their initial
conceptions, the buildings structure was design to accommodate four times the typical wind loads in order to stabilize and retain the buildings iconic triangular shape. For over 100 years, the Flatiron Building has been an architectural icon and an international tourist attraction. Even though, it is still a private office building does not detract from the wonder and amazement that it stirs up upon seeing if for the first time. Since its construction, the Flatiron Building has been designated by New York City, as well as the United States as a historical landmark.
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Architecte Reed & Stem, Warren & Wetmore Adresse 42nd Street and 3rd Ave. Date de réalisation 1903-1913 Style Beaux-Arts Construction Facade en Pierre Type Gare
Grand Central Terminal (GCT, often inaccurately called Grand Central Station) is a Terminal station at 42nd Street and Park Avenue in Midtown Manhattan in New York City. Built by and named for the New York Central Railroad in the heyday of American long-distance passenger trains, it is the largest train station in the world by number of platforms:[3] 44, with 67 tracks along them. They are on two levels, both below ground, with 41 tracks on the upper level and 26 on the lower. It serves commuters traveling on the Metro-North Railroad to Westchester, Putnam, and Dutchess counties in New York State, and Fairfield and New Haven counties in Connecticut.
Although it has been properly called «Grand Central Terminal» since 1913, many people continue to refer to it as «Grand Central Station». Technically, that is the name of the nearby post office, as well as the name of a previous rail station on the site.
Solomon R. Guggenheim Museum
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Architect Frank Lloyd Wright Adress 1071 Fifth Avenue (at 88th Street) Date de réalisation 1943-1959 Style International Style II Construction Beton armé Type Galerie d’art
Contact 1071 5th Ave. at 89th St. - New York, NY 10128 (212) 423-3500 www.guggenheim.org Horaire Dim.-Mer. et Ven., 10h-17h45 Sam., 10h-19h45 Fermé le jeudi et les jours de Thanksgiving et de Noël. A ne pas manquer La petite bibliothèque (Aye Simon reading room) et le Cafe 3. Attention A partir de 17h00 on peut vous empêcher d’entrer s’il y a trop de visiteurs encore dans le musée. Des audioguides sont proposés à l’entrée : sachez qu’ils sont gratuits si vous avez votre ticket pour visiter les collections.
Conçu dans la période des trente glorieuses, le musée Guggenheim de NewYork rompt avec les tendances du mouvement de l’architecture moderne. WRIGHT tenta d’établir un rapport dialectique entre la forme et la fonction. Plus concrètement, le musée Guggenheim s’inscrit dans la ville de manière antagoniste, opposant ses formes circulaires aux lignes droites des gratteciel aux alentours. Les espaces d’exposition pour différents types d’œuvres s’organisent autour d’un vide fédérateur de forme cylindrique. La spirale ainsi créée grâce à une rampe, s’étale sur six niveaux autour de la plate-forme centrale du rez-de-chaussée où se situe une large fontaine.
Solomon R. Guggenheim Museum LE MUSEE Swelling out towards the city of Manhattan, the Solomon R. Guggenheim Museum was the last major project designed and built by Frank Lloyd Wright between 1943 until it opened to the public in 1959, six months after his death, making it one of his longest works in creation along with one of his most popular projects. Completely contrasting the strict Manhattan city grid, the organic curves of the museum are a familiar landmark for both art lovers, visitors, and pedestrians alike. The exterior of the Guggenheim Museum is a stacked white cylinder of reinfored concrete swirling towards the sky. The museum’s dramatic curves of the exterior, however, had an even more stunning effect on the interior. Inside Wright proposed “one great space on a continuous floor,” and his concept was a success. Walking inside, a visitor’s first intake is a huge atrium, rising 92′ in height to an expansive glass dome. Along the sides of this atrium is a continuous ramp uncoiling upwards six stories for more than one-quarter of a mile, allowing for one floor to flow into another. The ramp also creates a procession in which a visitor experiences the art displayed along the walls as they climb upwards towards the sky.
the interaction of people on different le- signed a letter protesting about their display of work in such a space. Many vels, enhancing the design in section. critics also argue that the building comAlthough the space within the building petes with the art work that is intended is undeniably majestic and the building to be displayed, a problem which Muitself monumental, it was not perfectly seum Director James Johnson Sweeney successful in terms of function. The cur- took seriously, stating, “This is the most ved walls of the interior were intended so spectacular museum interior architecthat paintings had to be tilted backward, turally in this country. But my job is to “as on the artist’s easel.” This was un- show off a magnificent collection to its successful because the paintings were fullest. Wright also had a problem with The design of the museum as one conti- still very difficult to display because of Manhattan’s building-code administranuous floor with the levels of ramps over- the concavity of the walls, and because tors who argued with him over structural looking the open atrium also allowed for of this before its opening 21 artists issues, such as the glass dome that had to be reduced in size and redesigned to include concrete ribs that are extensions of the discreet structural pillars on the exterior walls. In 1992 the museum built an addition that was designed by Gwathmey Siegel & Associates Architects that Wright had originally intended. The architects analyzed Wright’s original sketches and from his ideas they created a 10-story limestone tower that had flat walls that were more appropriate for the display of art. Between 2005-2008 the Guggenheim Museum went under an exterior renovation where eleven coats of paint were removed from the original surface and revealed many cracks due to climatic reasons. This revelation led to extensive research in the testing of potential repair materials, as well as the restoration of the exterior. Despite the opinion of critics, there is
Solomon R. Guggenheim Museum no doubt that Wright’s design for the Guggenheim Museum provides a spatial freedom that is unique to his style. It took Wright 700 sketches and six sets of working drawings to turn his vision into an extraordinary sculpture of a building overlooking Central Park, that in the very least should be acknowledged as one of the most spatially beautiful International-style works of architecture.
Le Musée Guggenheim, une utopie devenue réalité En juin 1943, Frank Llyod Wright, le célèbre architecte américain, reçoit une lettre signée de Hilla Rebay, la conseillère artistique de M. Solomon R. Guggenheim, riche industriel d’origine suisse allemande. Guggenheim s’était retiré des affaires en 1919, et se consacra à sa passion pour l’art. Il collectionnait avidement toutes les œuvres contemporaines, notamment abstraites. En 1937, il créa la Fondation qui porte son nom et lui lègue toute sa collection de peintures. De la rencontre entre Rebay et Guggenheim était né un projet de musée consacré à la peinture non-figurative. Celui-ci fut créé en 1939, et installé dans un ancien espace de vente d’automobiles situé au 24 de la 54ème rue Est à Man-
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première conception ne permettra pas de disposer de suffisamment d’espace L’endroit s’avéra vite inadapté. La col- pour abriter toute la Collection Guglection de Guggenheim devenant de ghemheim. Il faut créer un bâtiment en plus en plus importante, il fut décidé de hauteur. construire un nouveau musée. Wright reprend d’abord un projet ancien C’est alors que Hilla Rebay écrit à qu’il avait dessiné dans les années 20, Franck Llyod Wright pour lui deman- inspiré de l’architecture babylonienne, der s’il accepte de créer le futur Mu- la ziggurat, avec une rampe en spirale, sée Guggenheim. Wright est alors agé une base large qui s’affine en hauteur. de plus de 70 ans. Son heure de gloire Il inverse le tout : le dessin montre une est passée depuis la fin des années 20, forme qui s’évase vers le haut, en « pile même s’il est encore beaucoup sollicité d’assiettes ». pour des projets un peu partout dans le pays. Guggenheim est séduit, mais Rebay émets des doutes sur la fonctionnalité Il est séduit par l’idée, n’ayant jamais du bâtiment. Wright, lui, est persuadé construit dans New York, mais il trouve d’avoir trouvé la bonne forme, mais exaussi que la ville est surchargée de bâ- plore différentes versions en couleurs timents serrés sur de petites parcelles. pour les murs extérieurs, persuadé que Il accepte la proposition, à condition de le musée devrait être coloré pour se disposer d’un terrain assez spacieux détacher des autres bâtiments du voipour préserver la perspective du musée. sinage. Il propose un plan faisant figurer Un terrain dans le Bronx avec une vue le bâtiment couvert d’un marbre rouge. sur l’Hudson est d’abord envisagé, Rebay n’aime pas cette couleur, elle le puis un autre terrain proche de l’ac- lui dit et demande d’autres plans. tuel MOMA, mais c’est finalement sur un terrain relativement petit situé sur la Finalement, en septembre 1945, le plan cinquième avenue, face à Central Park, final est présenté à la presse et des terque le musée sera construit. rains complémentaires du lot initial sont achetés par Guggenheim. Wright est Wright imagine plusieurs plans, un impatient de démarrer la construction, bâtiment plat de forme hexagonale mais Guggenheim juge que la situation d’abord, mais Rebay estime que cette d’après guerre n’est pas favorable pour
Solomon R. Guggenheim Museum
s’engager dans un projet de cette en- lequel se trouve une école pour jeunes filles est à vendre. Guggenheim achète vergure. l’ensemble et fait rénover l’école pour la La presse se moque du design proposé transformer en musée provisoire. Les par Wright. Le bâtiment est surnommé collections y sont transférées et ce muironiquement « le ressort ». Wright ré- sée temporaire ouvre en 1948. pond aux critiques en indiquant qu’en cas d’attaque nucléaire lancée sur New En 1949, Solomon R. Guggenheim déYork (nous sommes en pleine Guerre cède à l’âge de 88 ans. Le projet de Froide), son musée survivrait puisqu’il musée semble perdu, mais dans son serait propulsé dans les airs et rebon- testament, Guggenheim lègue 8 millions dirait sans dommage à l’atterrissage. de dollars à la fondation et 2 millions Initialement le projet comprenait deux pour la construction du musée. Harry rotondes et des appartements pour ar- Guggenheim, l’héritier, reprend le projet. tistes en résidence et pour Guggenheim Il achète le dernier terrain disponible du et Rebay. Ces extensions ne furent pas secteur : la Fondation possède mainréalisées par manque de moyens. tenant tout le bloc autour de la 88ème rue. Par ailleurs, Hilla Rebay continue à adreser à Wright des requettes de modifica- Wright revoit ses plans à nouveau et tions du plan : elle n’aime pas l’aspect dessine les annexes du musée. Hilla spiralé de l’édifice, d’autant que les Rebay quitte la présidence de la Fondamurs ne sont pas totalement verticaux tion en 1952, officiellement pour des rai: comment accrocher une exposition sons de santé, plus probablement sur la de peinture dans ces conditions ? Elle demande du conseil de la Fondation qui reproche à Wright de ne pas aimer la ne supporte plus son intransigeance. peinture et de ne se consacrer qu’à son Les permis de construire sont demanoeuvre architecturale sans tenir compte dés, et la construction semble pouvoir des besoins de la Fondation. commencer. Wright est découragé, et le fait savoir à Guggenheim qui ne se décide toujours pas à lancer les travaux. Par contre, un terrain adjacent à ceux déjà acquis sur
De nombreuses modifications du plan de Wright sont exigées par les services d’urbanisme de la ville, et Wright doit remanier à nouveau ses plans. Il doit éga-
lement subir les attaques incessantes de la presse qui compare l’édifice à un « hamburger hollywoodien » qui risque de défigurer le style néoclassique de la cinquième avenue. Harry Guggenheim décide de monter une exposition rétrospective des oeuvres de Wright sur le site même du futur musée afin de couper court à la vindicte générale. L’exposition, qui tourne déjà depuis quelques temps dans d’autres villes et à l’étranger, ouvre à New York fin 1953, et c’est un grand succès populaire, ce qui calme les ardeurs des opposants au projet.
Hearst Magazine Building
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Architect Joseph Urban, Tower Sir Norman Foster Adress 951-969 Eighth Ave at W47. Date de réalisation 1928, tower 2004. Style Art Moderne, tower Late Modern Construction Stone Type Bureau
Hearst Tower in New York City, New York is located at 300 West 57th Street on Eighth Avenue, near Columbus Circle. It is the world headquarters of the Hearst Corporation, bringing together for the first time their numerous publications and communications companies under one roof, including Cosmopolitan, Good Housekeeping and the San Francisco Chronicle, to name a few. The former six-story headquarters building was commissioned by the founder, William Randolph Hearst and awarded to the architect Joseph Urban. The building was completed in 1928 at a cost of $2 million and contained 40,000 sq. ft. The original cast stone facade has been preserved in the new design as a designated Landmark site. Originally built
as the base for a proposed skyscraper, the construction of the tower was postponed due to the Great Depression. The new tower addition was completed nearly eighty years later, and 2000 Hearst employees moved in on 4 May 2006. The tower – designed by the architect Norman Foster and constructed by Turner construction – is 46 stories tall, standing 182 m (597 ft) with 80,000 m² (856,000 ft²) of office space. The uncommon triangular framing pattern (also known as a diagrid) required 9,500 metric tons (10,480 tons) of structural steel – reportedly about 20% less than a conventional steel frame. Hearst Tower was the first skyscraper to break ground in New York City after September 11,
Hearst Magazine Buildi ng 2001. The building received the 2006 Emporis Skyscraper Award, citing it as the best skyscraper in the world completed that year. Hearst Tower is the first green building completed in New York City, with a number of environmental considerations built into the plan. The floor of the atrium is paved with heat conductive limestone. Polyethylene tubing is embedded under the floor and filled with circulating water for cooling in the summer and heating in the winter. Rain collected on the roof is stored in a tank in the basement for use in the cooling system, to irrigate plants and for the water sculpture in the main lobby. The building was constructed using 80% recycled steel. Overall, the building has been designed to use 25% less energy than the minimum requirements for the city of New York, and earned a gold designation from the United States Green Building Council’s LEED certification program. The atrium features escalators which run through a 3-story water sculpture titled Icefall, a wide waterfall built with thousands of glass panels, which cools and humidifies the lobby air. The water element is complemented by a 70-foot (21.3 m) tall fresco painting entitled Riverlines by artist Richard Long. As reported on NPR’s Wait Wait... Don’t Tell Me!, women who wear miniskirts while riding the building’s glass escalators offer those below a view up their skirts.
Lincoln Center for the Performing Arts
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Architect Max Abramovitz Avery Fisher Hall Pietro Belluschi The Juilliard School Gordon Bunshaft Skidmore, Owings & Merrill The New York Public Library for the Performing Arts Wallace Harrison Master plan & Metropolitan Opera House Philip Johnson New York State Theater Eero Saarinen Beaumont Theater Adress Columbus Avenue, W62 to W66 Date de réalisation 1960s Style International Style II Construction Marbe et Beton Type Théatre
Le Lincoln Center for the Performing Arts est un centre culturel de New York, où sont basées une douzaine de compagnies artistiques. Situé dans l’arrondissement de Manhattan au sud de l’Upper West Side, il a été construit dans les années 1960 et fait partie d’un plan de rénovation urbaine conçu par Robert Moses. Le complexe occupe six hectares entre Broadway et Amsterdam Avenue, de la 62e à la 68e rue. C’est la première tentative effectuée dans une ville américaine pour rassembler ainsi plusieurs institutions culturelles majeures.
Lincoln Center for the Performing Arts is a 16.3-acre (61,000 m²) complex of buildings in New York City which serves as home for 12 arts organizations: Chamber Music Society of Lincoln Center, Film Society of Lincoln Center, Jazz at Lincoln Center, Juilliard School, Lincoln Center Theater, Metropolitan Opera, New York City Ballet, New York City Opera, New York Philharmonic, New York Public Library for the Performing Arts, School of American Ballet, and Lincoln Center for the Performing Arts, Inc..
Lincoln Center for the Performing Arts History and facilities A consortium of civic leaders and others led by, and under the initiative of John D. Rockefeller III, built Lincoln Center as part of the «Lincoln Square Renewal Project» during Robert Moses’ program of urban renewal in the 1960s. Rockefeller was its inaugural president from 1956 and became its chairman in 1961. He is credited with raising more than half of the $184.5 million in private funds needed to build the complex, including drawing on his own funds; the Rockefeller Brothers Fund also contributed to the project. The first structure to be completed and occupied as part of this renewal was the Fordham Law School of Fordham University in 1962. Located between Columbus and Amsterdam Avenues, from West 60th to West 66th Street on the Upper West Side of Manhattan, the Lincoln Center complex was the first gathering of major cultural institutions into a centralized location in a United States city.
Lincoln Center cultural institutions also make use of facilities located away from the main campus. In 2004 Lincoln Center was expanded through the addition of Jazz at Lincoln Center’s newly built facilities (Frederick P. Rose Hall) at the new Time Warner Center, located a few blocks to the south. In March 2006 Lincoln Center launched construction on a major redevelopment plan that will modernize, renovate, and open up the Lincoln Center campus in time for its 50th anniversary celebration in 2009. Lincoln Center for the Performing Arts, Inc. is one of the 12 resident organization listed above, and serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. As a presenter of more than 400 events annually, its programs include American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and the Emmy
Award-winning Live From Lincoln Center. In July 2006, LCPA announced it will join with publishing company John Wiley & Sons, Inc. to publish at least 15 books, which will focus on performing arts, and will draw on Lincoln Center Institute’s educational background and archives. In March 2006, and continuing through 2009, Lincoln Center launched the 65th Street Project--part of a major redevelopment plan--to create a new pedestrian promenade designed to improve accessibility and the aesthetics of that area of the campus. Diller Scofidio + Renfro are the designers in association with FX Fowle Architects. Turner Construction is the general contractor for the project.
LERVER house
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Architecte Skidmore, Owings, & Merrill Adresse New York, New York Date de réalisation 1951-1952 Style International Type Bureaux
The Lever House by Skidmore, Owings & Merrill was one of the first glass International style office buildings in the United States. Located in midtown Manhattan, it was originally the American corporate headquarters of the soap company Lever Brothers. Built between 1951-1952, the Lever House extends 24 stories in height right across from Mies van der Rohe’s Seagram Building, and stands as its own perfect glass box.
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Metropolitain Museum of art Informations générales Architecte Eero Saarinen Adresse Jamaica, New York, USA Date de réalisation 1956-1962 Style Moderne Type Aeroport
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RESUMé The Metropolitan Museum of Art, often referred to simply as «the Met», is one of the world’s largest and most important art museums. The main building is located on the eastern edge of Central Park in New York City, New York, United States, along what is known as Museum Mile. It was designated a National Historic Landmark in 1986. The Met has a much smaller second location at «The Cloisters,» featuring medieval art.
MOMA
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Architecte Goodwin and Edward Durell Stone , additions and alterations: Philip Johnson Associates (architect) and James Fanning (landscape architect) [1954, 1964], further additions and alterations: Cesar Pelli & Associates and Edward Durell Stone Associates [1985] Adresse 11 West 53rd Street, bet. Fifth and Sixth Aves Date de réalisation 1939 Style International Style II Construction Verre et Metal Type Musée
This institution was founded with the support of Abby Aldrich Rockefeller and other members of New York’s wealthy elite who had embraced modern art in the 1920s and 1930s. Its primary goal was to popularize modern art in the United States by making this heretofore European phenomenon accessable to the general public.
neer of marble, opaque glass and transparent glass. A simple pierced concrete awning caps the top floor. In keeping with the principles of le Courbusier (the formost architect of this new style), the structure is topped with a roof garden. A number of additions attest to the success and popularity of modern art. Philip Johnson added a west wing in 1951 (now the site of the MoMA Tower), as In 1929, the Museum opened in an exis- well as an east wing and the widely adting building on 57th Street. In 1935, the mired sculpture garden in 1964. Rockefeller House and its land were donated to the Museum. This became the The Museum of Modern Art (MoMA) is core of the new museum’s site. Stone a preeminent art museum located in and Goodwin’s design for the initial buil- Midtown Manhattan in New York City, ding is an early tribute to modern archi- USA, on 53rd Street, between Fifth and tecture which had been gaining curren- Sixth Avenues. It has been singularly cy in Europe for over 15 years. Its flat, important in developing and collecting unornamented facade is clad with a ve- modernist art, and is often identified as
MOMA the most influential museum of modern art in the world. The museum’s collection offers an unparalleled overview of modern and contemporary art, including works of architecture and design, drawings, painting, sculpture, photography, prints, illustrated books, film, and electronic media. MoMA’s library and archives hold over 300,000 books, artist books, and periodicals, as well as individual files on more than 70,000 artists. The archives contain primary source material related to the history of modern and contemporary art. The entrance to the Museum of Modern Art is tucked beneath a demure facade of granite and glass in Midtown Manhattan. Its clean, regular planes mark Yoshio Taniguchi’s 2004 addition to the MoMA’s sequence of facades, which he preserved as a record of its form. Taniguchi’s contribution sits beside the 1984 residential tower by Cesar Pelli and Associates, followed by Philip Goodwin and Edward Durell Stone’s original 1939 building, then Philip Johnson’s 1964 addition. Taniguchi was hired in 1997 to expand the Museum’s space and synthesize its disparate elements. His elegant, minimal solution presents a contemporary face for the MoMA while adhering to its Modernist roots.
The original 1939 International Style building was restored, including its white marble facade and piano canopy. Philip Johnson’s 1953 Sculpture Garden was also renovated and enlarged. Taniguchi envisioned the garden as the museum’s core, providing views from each of the surrounding buildings. Two volumes of equal height frame the east and west ends of the garden, housing the Education and Research Building and main gallery complex, respectively. To the south, a similar palette of thin coIn unifying the Museum’s built form, Ta- lumns and opaque white glass replaced niguchi refined select edges of the buil- the first seven stories of Pelli’s residending’s history while dissolving others. tial tower. From within the Sculpture
Garden, this consistent language allows visitors to understand the complex as a whole. Along 54th Street, the symmetrical volumes are clad in black granite, dark gray glass, and aluminum, linking the site across its full length. Taniguchi achieved the refined, minimal aesthetic by exacting precision in each detail. The panels on the exterior facades were installed with the least possible tolerance, diminishing the seams to create an apparently continuous surface. Vast panes of glass hang beneath the deep porticoes bounding the Sculpture Garden. To ensure the glass would not deflect as the museum filled with visitors, the curtain walls were freed from the floor structure. Steel mullions were chosen over the standard aluminum to allow a thinner profile of sufficient strength. Taniguchi’s solution mediates between the chaos of the city and an environment for viewing art. The Museum represents a microcosm of Manhattan, with buildings of various character surrounding a central garden. The main lobby extends from the 53rd Street entrance to the Sculpture Garden along 54th, creating a porous transition between the interior and its urban context. While moving through the galleries, visitors encounter unexpected views of New York’s streets and skyline. Though the classic, white box galleries are typical of many contemporary museums, Taniguchi incorporated this system of vistas to reveal the MoMA’s unique context.
MOMA The original museum prescribed a linear reading of the history of modern art, with each gallery limited to a single entrance. The MoMA’s administrators and architects agreed the expansion should encourage simultaneous and interrelated discoveries, rejecting the idea of a single viewing itinerary. The new galleries can be accessed at any level via a spine of escalators and ancillary stairs, with contemporary art nearest ground level and progressively older works on higher stories. Large, sky-lit space for temporary exhibitions is provided on the top floor. The galleries lack distinct borders, each offering multiple entrance points to neighboring galleries. The 21 ft. high contemporary galleries span 200 ft. to accommodate contemporary art of unanticipated format. The space is free of columns, accomplished by constructing an armature above the eighth story bridges leading to the escalator spine which supports the lower levels. and orients visitors within the gallery As visitors move through the lobby complex. toward the Sculpture Garden, they pass beneath the 110 ft. high atrium. Per- The MoMA recently announced plans forations in the galleries and stairways for another expansion to the west of the allow visitors to peer into its soaring current building, directly adjacent to the space, where they appear framed in American Folk Art Museum. It is set to the white, rectangular apertures. These include a 1050 ft. tower designed by strategically placed windows lend the Ateliers Jean Nouvel, which will house atrium a subtle gravity as occupants additional gallery space for the Museum. move through the galleries around it. The MoMA received strong opposition The space is crossed at each level by from the architecture and design world
after stating it would replace the American Folk Art Museum with a connecting wing to the planned expansion site. The MoMA has since hired Diller Scofidio + Renfro to design the connector and granted the architects time to consider the possibility of integrating the existing American Folk Art Museum. For more on the Museum, check out our interview with Pedro Gadanho, the Curator for Contemporary Architecture at the MoMA.
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Informations générales Architecte SANAA Adresse 235 Bowery, New York, NY 10002 Date de réalisation 2002 - 2007 Style Moderne Construction Guy Nordenson Associates, Simpson Gumperts & Heger Inc., New York City 58,700 sq ft Type Musée
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RESUMé Recently Pritzker laureate SANAA offers to architects, critics and customers very sharp architectures, outstanding and internationally recognized. Most of the times, the reason of this is the simplicity and clearness of the concept, and its clean translation into construction. The New Contemporary Art Museum in New York is a precious building with clear concept and strong impact.
new art museum HISTOIRE The location context, Lower Manhattan, with its squared blocks and buildings, can be considered as starting point for the Museum image: it replies the boxes surrounding, and stacks them one on top of the other in various sizes and heights, as the plot was a playground for a composition of cubes. By small but significant shifting of the cubes, the building gets dynamicity and an attracting shape, being different but similar to the near constructions. The program of the Museum consists of four public galleries at the first four floors, which have free and flexible spaces for exhibitions; a “white boxâ€? auditorium in the basement, Education Center at the 5th floor, offices at 6th, a multi-purpose room at the 7th. By shifting the boxes, all galleries get natural illumination, combined with artificial, and the offices and the private locals on the top floors get terraces and opening views to the cityscape. It is in that way that the project shows its concept: by simple repeated shifting, the intention of the building is clearly readable from outside, and combines a convincing language with the need of natural light from top: all at once, with one operation, the project shows its force. Wanting to be a light and clean object in the massive Manhattan cityscape, the materials and the façade appearance play a relevant role. The choice of a layer of anodized aluminium mesh on top of the white walls is not new and unknown to most of architects. But in the Museum it is used as a wrapped skin on all vertical surfaces, as a continuous blurring layer, that gives different light reflections and hides the offices windows, doors and balustrades of the terraces.
The result is an elegant, light and white succession of surfaces, without any interruption or contamination by other elements: a semi-transparent dress for the shifting body of the building. Evidently, at night the Museum shows life from the inside with the artificial lights through the hidden openings, enhancing the gaps between the volumes and giving more lightness to the massive building. Inside, the Museum keeps its lightness by the white surfaces and ceilings. The steelstructure of the perimeter walls supports the floors and sets them free from any column. The plan, with an offcentred core and free space all around, efficient and flexible, confirms the clearness of the concept.
New York Public Library
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Architecte Carrere & Hastings Adresse Fifth Ave., bet. W40 and W42. Date de réalisation 1911 Style Beaux-Arts Construction Stone Type Library
The New York Public Library (NYPL) is one of the leading public libraries of the world and is one of America’s most significant research libraries. It is unusual in that it is composed of a very large circulating public library system combined with a very large non-lending research library system. It is simultaneously one of the largest public library systems in the United States and one of the largest research library systems in the world. It is a privately managed, nonprofit corporation with a public mission, operating with both private and public financing. Its flagship building, on Fifth Ave. running from 40th to 42nd Street in Manhattan, is a National Historic Landmark.
as one of the five most important libraries in America, the others being the Library of Congress, the Boston Public Library, and the university libraries of Harvard and Yale.
Although it is called the «New York Public Library» the system does not cover all five boroughs of America’s largest city, only Manhattan, The Bronx and Staten Island. New York City does not have a single public library system but three of them. The other two are the Brooklyn Public Library and the Queens Borough Public Library, serving the boroughs of Brooklyn and Queens, respectively. This came about because these three library systems predate the consolidation of The historian David McCullough has New York City in 1898. described the New York Public Library
New York Public Library Currently, the New York Public Library consists of 87 libraries: four non-lending research libraries, four main lending libraries, a library for the blind and physically handicapped, and 77 neighborhood branch libraries in the three boroughs served. All libraries in the NYPL system may be used free of charge by all visitors. As of 2005, the research collections contain 15,634,320 books. The Branch Libraries contain 4,404,750 volumes. Together the book collections total more than 20 million, a number surpassed by only the Library of Congress and the British Library. If the three public library systems of New York City were considered as a single entity this unified library would have 208 branches and a collection of more than 30 million volumes, making it the largest public library in the world Main branch building The organizers of the New York Public Library, wanting an imposing main branch, found a prominent, central site available at the two-block section of Fifth avenue between 40th and 42nd streets, then occupied by the no-longer-needed Croton Reservoir. Dr. John Shaw Billings the first director of the library, created an initial design which became the basis of the new building (now known as the Humanities and Social Science Library) on Fifth Avenue. Billings’s plan called for a huge reading room on top of seven floors of bookstacks combined with system designed to get books into the hands of library users as fast as possible. Following a competition among the city’s most prominent architects, the relatively unknown firm of Carrère and Hastings was selected to design and construct the building. The result, a Beaux-Arts design, was the largest marble structure up to that time in the United States. The cornerstone was laid in May 1902, but work progressed slowly on the project, which eventually cost $9 million. In 1910, 75 miles of shelves were installed, and it took a year to move and install the books that were in the Astor and Lenox libraries. On May 23, 1911, the main branch of the New York Public Library was officially opened in a ceremony presided over by President William Howard Taft. The following day, the public was invited. Tens of thousands thronged to the Libra-
ry’s «jewel in the crown.» The opening day collection consisted of more than 1,000,000 volumes. The New York Public Library instantly became one of the nation’s largest libraries and a vital part of the intellectual life of America. Library records for that day show that one of the very first items called for was N. I. Grot’s Nravstvennye idealy nashego vremeni («Ethical Ideas of Our Time») a study of Friedrich Nietzsche and Leo Tolstoy. The reader filed his slip at 9:08 a.m. and received his book just six minutes later. Two famous stone lions guarding the entrance were sculpted by Edward Clark Potter. They were originally named Leo Astor and Leo Lenox, in honor of the library’s founders. These names were transformed into Lord Astor and Lady Lenox (although both lions are male). In the 1930s they were nicknamed «Patience» and «Fortitude» by Mayor Fiorello LaGuardia. He chose these names because he felt that the citizens of New York would need to possess these qualities to see themselves through the Great Depression. Patience is on the south side (the left as one faces the main entrance) and Fortitude on the north. The main reading room of the Research Library (Room 315) — a majestic 78 feet (23.8 m) wide by 297 feet (90.5 m) long, with 52 feet (15.8 m) high ceilings — lined with thousands of reference books on open shelves along the floor level and along the balcony; lit by massive windows and grand chandeliers; furnished with sturdy wood tables, comfortable chairs, and brass lamps. Today it is also equipped with computers with access to library collections and the Internet and docking facilities for laptops. Readers study books brought to them from the library’s closed stacks. There are special
rooms for notable authors and scholars, many of whom have done important research and writing at the Library. But the Library has always been about more than scholars, during the Great Depression, many ordinary people, out of work, used the Library to improve their lot in life (as they still do). The building was declared a National Historic Landmark in 1965. Over the decades, the library system added branch libraries, and the research collection expanded until, by the 1970s, it was clear the collection eventually would outgrow the existing structure. In the 1980s the central research library added more than 125,000 square feet (12,000 m²) of space and literally miles of bookshelf space to its already vast storage capacity to make room for future acquisitions. This expansion required a major construction project in which Bryant Park, directly west of the library, was closed to the public and excavated. The new library facilities were built below ground level and the park was restored above it. On July 17, 2007, the building was briefly evacuated and the surounding area was cordoned off by New York police because of a suspicious package found across the street. It turned out to be a bag of old clothes. In the three decades before 2007, the building’s interior was gradually renovated. On December 20, 2007, the library announced it will undertake a three-year, $50 million renovation of the building exterior, which has suffered damage from weathering and pollution. All of the work was scheduled to be completed by the centennial in 2011.
ONE WORLd trade center
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ONE WOrld Trade Center Informations générales
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Architecte David Childs (Skidmore, Owings and Merrill) Adresse 285 Fulton Street Date de réalisation 27 avril 2006 - 10 mai 2013 Style Contemporain moderne Construction Hauteur de l’antenne Pointe : 546,2 m1 Architecturale : 541,3 m1,9 Hauteur du toit 417 m10 Hauteur du dernier étage 386,5 m1 Nombre d’étages 104 (plus 5 soussols)1 Superficie 325 279 m2 Type Bureaux
Le One World Trade Center (également 1 World Trade Center ou 1 WTC ; le bâtiment actuel a été surnommé Freedom Tower au début des travaux) est le nom de deux bâtiments. Il fait le plus souvent référence au principal bâtiment du nouveau complexe World Trade Center dans le Lower Manhattan, à New York et le plus haut gratte-ciel de l’hémisphère ouest. La tour de 104 étages, qui partage son nom avec la tour jumelle nord du World Trade Center initiale qui a été détruite lors des Attentats du 11 septembre 2001, se situe sur le coin nord-ouest du site du World Trade Center d’une surface de 6,5 ha, à l’emplacement de l’ancien 6 World Trade Center. Le bâtiment est entouré à l’ouest par West Street, au nord par Vesey Street, au sud par Fulton Street
et à l’est par Washington Street. La construction des bases et des fondations de la tour, situées en sous-sol, commence le 27 avril 2006. Le 30 mars 2009, la Port Authority of New York and New Jersey confirme que le bâtiment devrait être connu sous son nom légal, One World Trade Center, plutôt que par son surnom, Freedom Tower3. Le 10 mai 2013, le dernier morceau de la flèche est installé, faisant du One World Trade Center le quatrième plus haut gratte-ciel du monde par hauteur totale. Son antenne permet à la tour d’atteindre la hauteur symbolique de 1 776 ft (541 m), en référence à l’année de la Déclaration d’indépendance des États-Unis. C’est la plus haute structure de New York depuis le 30 avril 2012, lorsqu’elle
ONE WORLd trade center a dépassé la hauteur de l’Empire State Building, Le nouveau complexe World Trade Center, aura initialement trois autres immeubles de grande hauteur, situés le long de Greenwich Street et du mémorial du 11-Septembre, situé juste au sud du One World Trade Center, là ou les tours jumelles se situaient initialement. La construction fait partie d’un travail de commémoration et de reconstruction suite à la destruction du complexe World Trade Center original au cours des attentats du 11 septembre. Suite à la destruction du World Trade Center initial, un débat a lieu en ce qui concerne l’avenir du site du World Trade Center. Des propositions pour sa reconstruction sont émises immédiatement et, en 2002, la Lower Manhattan Development Corporation organise un concours pour déterminer comment employer le site. Le rejet de la première série de projets, les « Preliminary Design Concepts », mène à une seconde compétition, plus ouverte, en décembre 2002, dans laquelle la concepteur Daniel Libeskind est sélectionné. Ceci passe par plusieurs révisions, principalement à cause des désaccords avec le développeur Larry Silverstein, qui détenait le bail sur le site du World Trade Center le 11 septembre 2001. La critique est, dans un premier temps, portée sur le nombre d’étages destinés à l’espace de bureaux et autres installations. Seuls 82 étages doivent être habitables et l’espace global de bureaux du World Trade Center entièrement
reconstruit doit être réduit de plus de 280 000 m2 par rapport au complexe initial. La limite d’étages est imposée par Silverstein, qui craint que les étages supérieurs soient un handicap dans le cas d’un futur attentat terroriste et autre incident. Une grande partie de la hauteur du bâtiment doit consister en une grande structure d’acier en treillis ouverte aux vents, qui continue au-dessus du toit de la tour et qui accueille les turbines à air et les « sky gardens ». Dans un projet suivant, l’espace le plus élevé destiné à être occupé devient comparable au World Trade Center original et la structure en treillis ouverte aux vents est supprimée des plans. En 2002, l’ancien gouverneur du New York George E. Pataki fait face à des accusations de copinage pour avoir soi-disant fait usage de son influence pour obtenir l’offre de l’architecte gagnant choisie comme faveur personnel pour Ron Lauder, ami et contributeur de campagne. Un projet final pour la « Freedom Tower » est officiellement dévoilé le 28 juin 2005. Pour répondre aux questions de sécurité soulevées par le New York City Police Department, une base en béton de 57 m de côté a été ajoutée au mois d’avril. Le projet comprend initialement des plans pour habiller la base de prismes de verre pour répondre aux critiques selon lesquelles le bâtiment est rendu peu attrayant et ressemble à un « bunker de béton ». Cependant, cela se montre impossible à réaliser, puisque les tests préliminaires révèlent que le verre prismatique se brise facilement en
grands et dangereux tessons. En conséquence, il est remplacé par un façade plus simple qui consiste en panneaux d’acier inoxydable et en verre résistant aux explosions. Le 26 avril 2006, la Port Authority de New York et du New Jersey approuve un cadre conceptuel qui doit permettre de commencer la construction des fondations, et un accord officiel est rédigé le jour suivant, jour du 75e anniversaire de l’ouverture de l’Empire State Building, en 1931. La construction de la tour commence en mai et une cérémonie officielle a lieu avec l’arrivée de la première équipé de construction80. Le gros-œuvre est achevé le 31 août 2012 et le dernier morceau de l’antenne est installé le 2 mai 2013. En 2009, la Port Authority change le nom officiel du bâtiment de « Freedom Tower » en « One World Trade Center », déclarant que ce nom est « le plus facile pour que les gens s’identifient avec ». Le changement a lieu après que les membres du conseil ont voté pour signer un acord de bail de 21 ans avec Vantone Industrial Co., une société immobilière, qui doit devenir le premier occupant commercial. Selon les plans de Vantone, le China Center, un établissement de commerce et de culture, qui doit être créé couvrira 17 750 m2 entre les étages 64 et 69. Un rapport en sepembre 2013 revèle que, à l’époque, la World Trade Center Association (WTCA) continue à négocier avec le One World Trade Center en ce qui concerne l’utilisation du titre « World Trade Center », puisque la WTCA achète les droits pour le nom en 1986. La WTCA cherche un espace libre de bureaux dans la tour équivalent à 500000 dollars en échange de l’utilisation de « World Trade Center » comme nom pour la tour One World Trade Center et les souvenirs associés. En mai 2011, des plans d’étages détaillés de la tour sont publiés sur le site web du département de la finance de New York, ce qui provoque un tollé chez les médias et les citoyens des environs qui ont prévenu que ces plans pourraient être utilisés pour une future attaque terroriste. En avril 2012, au moment où la structure de la tour est sur le point d’être chevée, les propriétaires du 1 WTC commencent une campagne commerciale publique, cherchant à attirer des visiteurs et des locataires supplémentaires.
The plaza hote l
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Architecte Henry J Hardenbergh Adresse Grand Army Plaza, Fifth Ave at 59th St. Date de réalisation 1909 Style Second Empire Baroque l Late medieval French chateau Type Hotel Infos Hotel with a height of 250 feet (76 m) and length of 400 feet that (122 m) occupies the west side of Grand Army Plaza, from which it derives its name, and extends along Central Park South in Manhattan. Fifth Avenue extends along the east side of Grand Army Plaza.
The hotel’s main entrance faces the southern portion of Grand Army Plaza— commemorating the Union Army in the Civil War. Grand Army Plaza is in two sections, bisected by Central Park South. The section in front of the Plaza Hotel is centered by the Pulitzer Fountain, of Abundance by Karl Bitter, funded by the will of the newspaper publisher Joseph Pulitzer: the statue in the fountain is actually Pomona, Roman goddess of orchards. The north side of Grand Army Plaza, a cutout from Central Park, has the glorious Augustus Saint-Gaudens part-gilded bronze equestrian statue of General Sherman. Grand Army Plaza provided the original main entrance to the carriage drives of Central Park.
On the south side of the Plaza (between 58th and 59th Streets) once stood the French Renaissance château of Cornelius Vanderbilt II, designed by George Browne Post; rising behind its gated front court, it was the grandest of the Fifth Avenue mansions of the Gilded Age. Bergdorf Goodman occupies its site. The Plaza is the second hotel of that name on the site. The French Renaissance château-style building was designed by Henry Janeway Hardenbergh and opened to the public October 1, 1907. Originally the Plaza cost $12.5 million to build in 1907.
The plaza hote l The Plaza was accorded landmark status by the New York City Landmarks Preservation Commission in 1988 and is, with the Waldorf-Astoria, the only New York City hotel to be designated as a National Historic Landmark. In the 1950s it was the setting for Kay Thompson’s series of Eloise books, Eartha Kitt and Peggy Lee played the Persian Room, unaccompanied ladies were not permitted in the Oak Room bar and the Palm Court was favored for luncheons and teas. The Beatles stayed at the Plaza during their first visit to the United States in February, 1964. On November 28, 1966, in honor of publisher Katharine Graham, Truman Capote hosted his acclaimed «Black & White Ball» in the Grand Ballroom. In September 1985, the Plaza Accord was signed at the Plaza. The Accord served as an agreement among the finance ministers of the United States, Japan, West Germany, France and Britain to bring down the price of the U.S. dollar against their currencies. The building was declared a National Historic Landmark in 1986. Ownership changes and renovations Conrad Hilton bought the Plaza for $7.4 million in 1943 and spent $6.0 million to refurbish the original. Hilton called the
Plaza the smartest hotel in America. Hil- Trump sold the hotel for $325 million in ton later sold the Plaza when he bought 1995 to a partnership between Prince Alwaleed Bin Talal Bin Abdulaziz Al Saud the Waldorf-Astoria. and Millennium & Copthorne Hotels. Donald Trump bought the Plaza for $407.5 million in 1988. Trump com- It was sold again in 2004 for $675 million mented on his purchase in a full-page to a Manhattan developer, El Ad Properopen letter he had published in The ties. El Ad closed The Plaza on April 30, 2005, to undergo extensive renovations. New York Times: It is planned to reopen on December 3, I haven’t purchased a building, I have 2007. When the renovations are compurchased a masterpiece — the Mona plete, the Plaza is expected to offer 130 Lisa. For the first time in my life, I have hotel rooms and 152 private condo hoknowingly made a deal that was not tel units and be managed by Fairmont economic — for I can never justify the Hotels and Resorts. In May 2007, a new price I paid, no matter how successful apartment in the Plaza was sold for a record $50 Million. the Plaza becomes.
Radio City Music Hall
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Radio City Music Hall Informations générales
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Architecte Edward Durell Stone (architect) and Donald Deskey (interior) Adresse Sixth Ave at 50th St. Date de réalisation 1932 Style Art Deco Construction
Radio City Music Hall is an entertainment venue located in New York City’s Rockefeller Center. Its nickname is the Showplace of the Nation, and it was for a time the leading tourist destination in the city. Its interior was declared a city landmark in 1978. The 12 acre (49,000 m²) complex in midtown Manhattan known as Rockefeller Center was developed between 1929 and 1940 by John D. Rockefeller, Jr., on land leased from Columbia University. Rockefeller initially planned a new home for the Metropolitan Opera on the site, but after the Stock Market Crash of 1929, the plans changed and the opera company withdrew from the project. The names «Radio City» and «Radio City Music Hall» derive from one of the
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complex’s first tenants, the Radio Corporation of America. Radio City Music Hall was a project of Rockefeller, Samuel Roxy Rothafel who previously opened the Roxy Theater in 1927, and RCA chairman David Sarnoff. RCA had developed numerous studios for NBC at 30 Rockefeller Plaza, just to the south of the Music Hall, and the radio-TV complex that lent the Music Hall its name is still known as the NBC Radio City Studios. The Music Hall opened to the public on December 27, 1932 with a spectacular stage show, featuring Ray Bolger and Martha Graham. The opening was meant to be a return to high class variety entertainment. Unfortunately, it was not a success and on January 11, 1933, the first film was shown on the giant screen:
Radio City Music Hall Frank Capra’s The Bitter Tea of General The Music Hall opened to the public Yen starring Barbara Stanwyck. on December 27, 1932 with a spectacular stage show, featuring Ray Bolger Early history and Martha Graham. The opening was meant to be a return to high class variety The 12 acre (49,000 m²) complex in entertainment. Unfortunately, it was not midtown Manhattan known as Rocke- a success and on January 11, 1933, the feller Center was developed between first film was shown on the giant screen: 1929 and 1940 by John D. Rockefel- Frank Capra’s The Bitter Tea of General ler, Jr., on land leased from Columbia Yen starring Barbara Stanwyck. University. Rockefeller initially planned a new home for the Metropolitan Opera Radio City has 5,933 seats for spectaon the site, but after the Stock Market tors; it became the largest movie theater Crash of 1929, the plans changed and in the world at the time of its opening. the opera company withdrew from the Designed by Edward Durell Stone, the project. interior of the theater, by Donald Deskey, incorporates glass, aluminum, chrome, The names «Radio City» and «Radio and geometric ornamentation. Deskey City Music Hall» derive from one of the rejected the Rococo embellishment gecomplex’s first tenants, the Radio Cor- nerally used for theaters at that time in poration of America. Radio City Music favor of a contemporary Art Deco style, Hall was a project of Rockefeller, Sa- borrowed heavily from a European Momuel Roxy Rothafel who previously ope- dern aesthetic style, of which he was ned the Roxy Theater in 1927, and RCA the foremost exponent at the time. chairman David Sarnoff. RCA had developed numerous studios for NBC at For much of the theater’s history, it 30 Rockefeller Plaza, just to the south of presented both a movie and a stage the Music Hall, and the radio-TV com- show as part of the same program. By plex that lent the Music Hall its name is the 1970s, changes in film distribution still known as the NBC Radio City Stu- made it difficult for Radio City to secure dios. exclusive bookings of many films; furthermore, the theater preferred to show
only G-rated movies, which became less common as the decade wore on. Regular film showings at Radio City ended in 1979, when Radio City was saved from a possible closure due to lack of funds. Movies and Movie premieres have occasionally been shown there in succeeding years. In 1980 after a renovation the Music Hall reopened with a focus on concerts and live stage shows.
seagram building
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Architecte Mies van der Rohe + Philip Johnson Adresse 375 Park Avenue, New York City, New York, USA Date de réalisation 1954-1958 Commissioners Commissioners: Seagram Liquor Company Style International Type Bureaux
Located in the heart of New York City, the Seagram Building designed by Mies van der Rohe epitomizes elegance and the principles of modernism. The 38-story building on Park Avenue was Mies’ first attempt at tall office building construction. Mies’ solution set a standard for the modern skyscraper. The building became a monumental continuity of bronze and dark glass climbing up 515 feet to the top of the tower, juxtaposing the large granite surface of the plaza below. Mies’ response to the city with the Seagram Building was the grand gesture of setting back the building 100 feet from the street edge, which created a highly active open plaza. The plaza attracts users with its two large fountains surrounded by generous outdoor sea-
ting. By making this move, Mies distanced himself from New York urban morphology, lot line development, and the conventional economics of skyscraper construction. The plaza also created a procession to the entry of the building, providing the threshold that linked the city with the skyscraper. This threshold continues into the building as a horizontal plane in the plaza that cuts into the lobby. The lobby also has a white ceiling that stretches out over the entry doors further eroding the defined line between interior and exterior. The office spaces above the lobby, furnished by Philip Johnson, have flexible floor plans lit with luminous ceiling panels. These floors also get maximum natural lighting with the exterior being glass panes of gray topaz that provi-
seagram building de floor-to-ceiling windows for the office spaces. The gray topaz glass was used for sun and heat protection, and although there are Venetian blinds for window coverings they could only be fixed in a limited number of positions so as to provide visual consistency from the outside. The detailing of the exterior surface was carefully determined by the desired exterior expression Mies wanted to achieve. The metal bronze skin that is seen in the facade is nonstructural but is used to express the idea of the structural frame that is underneath. Additional vertical elements were also welded to the window panels not only to stiffen the skin for installation and wind loading, but to aesthetically further enhance the vertical articulation of the building. The Seagram Building, with its use of modern materials and setback from the city grid, became a prototype for future office buildings designed by Mies as well as a model for many buildings erected in its surroundings. This building, fifty years after its completion, is still admired by many visitors everyday and sets an example of an International style skyscraper amidst the New York skyline. batiment Le bâtiment se présente comme un parallélépipède de couleur bronze posé sur sa plaza en granit.
béton armé sur laquelle est suspendue la façade-rideau. Mies voulait une ossature métallique apparente, cependant le code de la construction américain demandait que toutes les structures soient ignifugées, il fallut donc cacher l’ossature — ce qu’il voulait éviter à tout prix — et utilisa donc des poteaux métalliques en « I » non structurels de couleur bronze pour signifier la structure en façade. Ils filent verticalement sur la façade comme des meneaux sur une grande fenêtre. La structure visible est donc simulée. Cette méthode de construction mettant en œuvre une structure porteuse intérieure en béton armé portant une enveloppe non structurelle est devenue un lieu commun. 1 450 tonnes de bronze ont été mis en œuvre.
La structure est exprimée en façade : selon Ludwig Mies van der Rohe, les éléments structurels d’un bâtiment devaient être visibles. Le Seagram building (comme la majorité des grands im- Les baies ont une proportion de 3/5. meubles de l’époque) a une ossature en
Ludwig Mies van der Rohe cherchait une régularité totale pour l’apparence du bâtiment. Il n’aimait pas l’irrégularité des stores plus ou moins baissés, qui donne aux bâtiments un aspect désorganisé. Il utilisa donc des stores à trois positions : ouvert, mi-ouvert, et fermé. Le minimalisme de la composition illustre la devise de l’architecte : Less is more (« Moins est plus »). Le Seagram building fut, lors de sa construction, le bâtiment le plus cher du monde, à cause du prix des matériaux et de la somptueuse décoration intérieure : inclusions de bronze, travertin, marbre.
Siège de l ONU
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Architecte Wallace K. Harrison - USA, URSS, Canada, Le Corbusier - FR, Suède, Oscar Niemeyer - BRS, GRB, Australie, URU Adresse United Nations Plaza Date de réalisation 1947-53 Style International Style II Construction New York’s earliest glass curtain wall, 38 stories or 544 feet tall Type Bureaux Complexe Formé de quatre bâtiments principaux, le Secrétariat, l’Assemblée générale, les salles de conférence et la Bibliothèque
The United Nations Headquarters is a distinctive complex in New York City that has served as the headquarters of the United Nations since its completion in 1950. It is located in the Turtle Bay neighborhood, on the east side of Midtown Manhattan, on spacious grounds overlooking the East River. Though it is in New York City, the land occupied by the United Nations Headquarters is considered international territory, and its borders are First Avenue west, East 42nd Street south, East 48th Street north and the East River east. FDR Drive passes underneath the Conference Building of the complex. The United Nations Headquarters were constructed in New York City in 1949 and 1950 beside the East River, on se-
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l ’ O N U venteen acres of land purchased from the foremost New York real estate developer of the time, William Zeckendorf. This purchase was arranged by Nelson Rockefeller, after an initial offer of placing it on the Rockefeller family estate of Kykuit was rejected as being too isolated from Manhattan. The $8.5 million purchase was then funded by his father, John D. Rockefeller, Jr., who donated it to the City. The lead architect for the building was the real estate firm of Wallace Harrison, the personal architectural adviser for the family.
Siège de l ONU Histoire du Siège de l’Orga- Le Siège de l’ONU a été conçu de fanisation des Nations Unies à çon à servir quatre groupes principaux : les délégations des 193 États Membres, New York qui envoient chaque année à New York S’élevant sur la rive est de l’île de Man- plus de 5 000 personnes aux sessions hattan, au bord de l’East River, le Siège annuelles de l’Assemblée générale; le de l’Organisation des Nations Unies à Secrétariat, dont, sur les 7 500 fonctionNew York est à la fois un symbole de paix naires travaillant dans le monde entier, 4 et un signe d’espoir. Dans cet espace 900 sont en poste à New York; les viside sept hectares, les représentants des teurs, qui sont environ 700 000 chaque sept milliards d’habitants qui peuplent année; et les journalistes, dont plus de 3 la planète se retrouvent pour tenir des 600 sont accrédités en permanence sur débats et prendre des décisions sur les place et plus 10 000 ne viennent qu’à questions de paix, de justice et de bien- l’occasion des grandes réunions. être matériel et social. Des aménagements ont été prévus Là également, les fonctionnaires de pour accueillir au mieux chacun de ces l’ONU, ou du Secrétariat, hommes et groupes. L’entrée des délégués est sifemmes, travaillent à l’application de ces tuée sur le côté ouest du bâtiment de décisions. La grande façade vitrée du l’Assemblée générale, au niveau de la bâtiment du Secrétariat et l’édifice peu 45e Rue; l’entrée des visiteurs se trouve élevé et délicatement incurvé de l’As- à l’extrémité nord du bâtiment de l’Assemblée générale, ainsi que le drapeau semblée générale, entre les 45e et 46e bleu et blanc de l’ONU, sont devenus Rues. Le public peut visiter librement les des symboles immédiatement recon- parties publiques du bâtiment et faire une visite guidée d’autres espaces de naissables de l’organisation mondiale. l’Organisation. Le personnel utilise soit l’entrée du Secrétariat située à la 43e Un territoire international Rue soit les autres. Propriété de l’Organisation des Nations Unies, le site du Siège est territoire in- Le choix de New York ternational. Un agent ou fonctionnaire américain, qu’il relève de l’autorité fé- Le 10 décembre 1945, le Congrès amédérale, d’un État ou d’une collectivité ricain avait décidé à l’unanimité d’inlocale, ou qu’il dépende de l’administra- viter l’Organisation à établir son siège tion, de l’autorité judiciaire, de l’armée permanent aux États-Unis. La décision ou de la police, ne peut pénétrer sur le d’établir l’Organisation des Nations site qu’avec le consentement du Secré- Unies près de la ville de New York a été taire général de l’Organisation et aux prise par l’Assemblée générale à sa première session, tenue le 14 février 1946 conditions convenues par lui. à Londres. L’Organisation est néanmoins liée au pays hôte par un accord visant à empê- Dès que le choix s’est fixé sur les Étatscher que le Siège ne serve de refuge à Unis, un comité spécial des Nations des personnes qui tentent d’échapper à Unies a passé le deuxième semestre de une arrestation ordonnée en vertu de la 1946 à examiner divers emplacements législation fédérale, de celle de l’État ou éventuels pour le Siège à Philadelphie, de la ville, ou qui sont recherchées par Boston et San Francisco. Il s’est tout le Gouvernement américain à des fins d’abord intéressé à des emplacements d’extradition vers un autre pays ou qui situés au nord de New York et n’a pas cherchent à se soustraire à des pour- sérieusement songé à Manhattan, jugé trop populeux. L’offre de 8,5 millions suites judiciaires. Sur ce site, l’Organisation dispose de de dollars faite à la dernière minute par ses propres services d’incendie et de John D. Rockefeller, Jr., pour l’achat du sécurité et d’un bureau de poste spé- site actuel a remporté l’assentiment de cialement habilité à vendre des timbres la plupart des membres de l’Assemblée émis par l’ONU. Les bâtiments ont été générale le 14 décembre 1946. La ville construits selon les normes fixées par de New York a accepté de céder des la ville de New York en matière de pro- terrains pour compléter l’achat. tection contre l’incendie et de sécurité, Le site choisi par l’Organisation des Nasans suivre nécessairement tous les rè- tions Unies était à l’époque un quartier formé d’abattoirs délabrés, d’instalglements de la ville. lations industrielles et de docks pour
barges ferroviaires. Les camions sillonnaient bruyamment la 1re Avenue d’un côté, et de l’autre, les voitures parcouraient à vive allure l’East River Drive – rebaptisée depuis Franklin Delano Roosevelt Drive – qui longe la rivière. Tout a commencé à Londres... Avant que les bâtiments du Siège à New York ne soient prêts, l’Organisation des Nations Unies a poursuivi ses travaux dans plusieurs endroits. On trouvera ciaprès la liste des endroits où ses principaux organes ont tenu leurs premières réunions : • Assemblée générale : Première session (première partie) : Londres (1014 février 1946); première session (deuxième partie) : Flushing, New York (23 octobre-15 décembre 1946); • Conseil de sécurité : À partir du 17 janvier 1946, le Conseil a tenu ses 24 premières séances à Londres. Par la suite, il s’est réuni à New York (Hunter College, Henry Hudson Hotel et Lake Success, siège provisoire de l’ONU); • Conseil économique et social : Londres (première session, 23 février 1946); puis Hunter College, New York; • Conseil de tutelle : Lake Success, New York (1947); • Cour internationale de Justice : La Haye (1946) Plan du Siège Une fois le site choisi, il a fallu concevoir la structure du Siège de l’organisation mondiale. Plutôt que de lancer un concours international, l’ONU a décidé que son nouveau siège serait le fruit d’une collaboration entre d’éminents architectes de divers pays. L’Américain Wallace K. Harrison, nommé architecte en chef, avait le titre de Directeur des plans de construction. Pour l’assister, il a été créé un bureau d’architectes-conseils, dont les 10 membres ont été désignés par des gouvernements. Ce bureau était composé des membres suivants : Nikolai G. Bassov (Union soviétique), Gaston Brunfaut (Belgique), Ernest Cormier (Canada), CharlesEdouard Jeanneret, dit Le Corbusier (France), Liang Seu-Cheng (Chine), Sven Markelius (Suède), Oscar Niemayer (Brésil), Sir Howard Robertson (Royaume-Uni de Grande-Bretagne et d’Irlande du Nord), G. A. Soilleux (Australie) et Julio Vilamajo (Uruguay).
Siège de l ONU Le Directeur et le Bureau se sont mis au travail au début de 1947, dans un bureau installé au Rockefeller Center – ensemble de locaux commerciaux dont M. Harrison avait été l’un des principaux architectes. Une cinquantaine de plans de base ont été établis, critiqués, analysés et remaniés. Les planificateurs ont pris en considération la structure institutionnelle de l’Organisation des Nations Unies, avec son Assemblée générale, ses trois grands Conseils et son Secrétariat permanent. Ils devaient tenir compte des besoins des délégations et du personnel du Secrétariat. La relative exiguïté du site imposait la construction d’un immeuble de bureaux élevé. Les planificateurs ont jugé que la présence d’une couche de roche dure près de la surface – le soubassement de schiste de Manhattan sur lequel reposent la plupart des gratte-ciel newyorkais – rendrait la construction plus facile. (Le soubassement s’enfonce à plus de 20 mètres au-dessous du niveau de la mer entre la 46e et la 47e Rue, où s’ouvrait Turtle Bay au siècle dernier, zone à présent située en dessous de la large pelouse au nord du bâtiment de l’Assemblée générale.)
afin de faciliter l’accès aux transports publics le long de la 42e Rue, principale artère du centre de Manhattan. L’orientation nord-sud a été choisie en partie par souci d’esthétique, et en partie par crainte qu’un grand immeuble orienté d’est en ouest n’assombrisse le site.
crétariat de 45 à 39 étages, en réduisant les dimensions des salles de conférence et en utilisant pour la Bibliothèque un bâtiment qui existait déjà sur le site. Le plan révisé, d’un coût de 65 millions de dollars, a été approuvé par l’Assemblée générale le 20 novembre 1947.
Les concepteurs ont imaginé un plateau semblable à un parc s’étendant de la 1re Avenue jusqu’au bord de la rivière, sur lequel se dresseraient les immeubles. Afin d’utiliser tout l’espace jusqu’au bord de l’eau, ils ont décidé que le jardin aménagé et le bâtiment des conférences surplomberaient le Franklin D. Roosevelt Drive. Bien que l’ONU ne soit pas tenue de se conformer aux arrêtés municipaux, le Siège a été conçu selon les règlements de construction en vigueur à New York, vu que la municipalité est responsable dans l’ensemble de la protection contre l’incendie. L’eau, l’électricité, le chauffage et autres commodités sont fournis aux tarifs du marché.
Pour financer les travaux, le Gouvernement des États-Unis a accordé à l’ONU un prêt sans intérêt de 65 millions de dollars. La dernière tranche de cet emprunt (1 million de dollars) a été remboursée en 1982. Construction et rénovation des bâtiments Une fois approuvés, les plans ont été rapidement mis à exécution. Les 270 habitants du quartier ont été réinstallés aux frais de l’ONU, les employés des abattoirs et les bateliers ont quitté les lieux, et les bâtiments qui s’y trouvaient ont été démolis. Le marché des travaux a été adjugé en janvier 1949 à un groupement de quatre grandes entreprises de bâtiment new-yorkaises. Dix-neuf mois plus tard, le 21 août 1950, le personnel du Secrétariat a pris possession de ses nouveaux bureaux.
Le coût des bâtiments établi selon les plans originaux avait été estimé à près de 85 millions de dollars. Toutefois, sur ordre du Secrétaire général Trygve Lie, les concepteurs l’ont réduit de 20 milIl a été décidé de construire le bâtiment lions de dollars, essentiellement en ra- La première pierre a été posée lors de la du Secrétariat à l’extrémité sud du site menant la hauteur du bâtiment du Se- cérémonie d’inauguration du 24 octobre
Siège de l ONU 1949 (Journée des Nations Unies) par le premier Secrétaire général, Trygve Lie, en présence du Président des ÉtatsUnis. La pierre porte l’inscription « Organisation des Nations Unies » dans les cinq langues officielles en usage en 1949 (anglais, chinois, espagnol, français et russe), ainsi que la date en chiffres romains. Préparée selon l’usage, la pierre porte à l’intérieur une boîte métallique contenant un exemplaire de la Charte et de la Déclaration des droits de l’homme, un exemplaire du calendrier des réunions, et des documents tels que les comptes rendus des réunions du Comité consultatif du Siège. La boîte a été scellée par le Secrétaire général Trygve Lie et le Directeur des plans de construction, Wallace K. Harrison. La pierre se trouve dans les fondations de la partie est du bâtiment de la Bibliothèque érigé à l’extrémité sud du site. Deux autres projets de construction visant à compléter les installations du La première adjonction importante au Siège ont été exécutés. Le premier était complexe du Siège a été la Bibliothèque la construction, autour d’une petite cour Dag Hammarskjöld, dont la construction remplie de cornouillers, de féviers et a été achevée en 1961. de pommiers sauvages, d’un atelier de reproduction moderne occupant deux Au fil des ans, l’intérieur des bâtiments niveaux et situé au-dessous de la vaste a été modifié pour accueillir les nom- pelouse nord du bâtiment de l’Assembreux États qui sont venus grossir les blée. rangs des Membres de l’Organisation depuis sa création. En 1947, lorsque Le deuxième projet, d’un coût de 8,7 les plans de construction ont été établis, millions de dollars, a été terminé l’année l’Organisation ne comptait que 57 États suivante. Il s’agit de la construction d’une Membres, mais des dispositions avaient cafétéria de 750 places réservée au perété prises pour en accueillir 70. En 1955, sonnel et aux délégués dans un édifice la capacité prévue avait été dépassée. de deux étages situé au coin sud-est du Un programme d’agrandissement de 3 bâtiment du Secrétariat et donnant sur millions de dollars, portant principale- l’East River. L’étage inférieur de l’annexe ment sur les salles de conférence, a été de la cafétéria abrite des salles de classe achevé en 1964, permettant d’accueillir pour les cours de langue et les bureaux 126 Membres. des interprètes.
Remontant au début des années 50, les structures originelles de l’ONU ne correspondaient plus aux normes de constructions les plus récentes. La remise à neuf – qui devrait être finalisée en 2014 – a pour objectif d’appliquer les normes les plus modernes de construction en matière de sécurité, d’accessibilité pour les personnes handicapées et la protection de l’environnement. Avec une réduction de 50% de la consommation d’énergie et d’eau, ainsi que de 40% de la production de carbone, les deux milliards de dollars de travaux devraient faire du Secrétariat l’un des les bâtiments plus écologiques et les plus propres du monde.
En outre, la tour de 39 étages dominant l’East River et la Première Avenue à Manhattan est maintenant munie d’un nouveau rideau de verre avec la même Le bâtiment existant du Secrétariat ne teinte bleu-vert qui était la sienne en pouvant pas accueillir tout le personnel, 1952. dont l’effectif avait augmenté, il a fallu louer des locaux dans des bâtiments du En décembre 2012, de retour dans le voisinage. Un grand nombre de fonc- bureau qu’il occupait avant le début tionnaires, y compris le personnel de la d’importants travaux de restauration United Nations Development Corpora- cinq ans auparavant, le Secrétaire génétion (UNDC), occupent des bureaux de ral Ban Ki-moon a exprimé son enthoul’autre côté de la 1ère Avenue, au niveau siasme pour la rénovation « historique de la 44e Rue. La UNDC est un orga- » du Siège des Nations Unies à New nisme public à but non lucratif créé par York, se félicitant tout particulièrement l’État de New York et chargé de fournir de l’intégration réussie de technologies des locaux à l’ONU et aux organisations innovantes respectueuses de l’environnement dans un bâtiment vieux de plus apparentées. de 60 ans.
Pour accueillir les Membres de l’Organisation, dont le nombre avait fortement augmenté, l’Assemblée générale a approuvé, en 1976, l’exécution de gros travaux en vue d’augmenter la capacité d’accueil de la salle de l’Assemblée générale et de toutes les grandes salles de conférence. Les frais de reconstruction et de réaménagement se sont élevés à environ 15 millions de dollars. La transformation des grandes salles de conférence, de la salle du Conseil de tutelle et de la salle de l’Assemblée générale a été achevée en septembre 1980. Des travaux de rénovation ont également été entrepris dans les bureaux et le salon du 2008-2014 : Grands travaux de rénovations, « Capital Master plan » Conseil de sécurité.
Statue of libert y
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Sculpteur Auguste Frederic Bartholdi, Structural Engineer Gustave Eiffel Richard Morris Hunt Adresse Liberty Island, New York Harbor. Date de réalisation 1884 Style Neoclassical realistic sculpture Construction Iron frame, Copper cladding Type Monumental statue and observation tower
Liberty Enlightening the World (French: La liberté éclairant le monde), known more commonly as the Statue of Liberty (Statue de la Liberté), is a large statue that was presented to the United States by France in 1886. It stands at Liberty Island, New York in New York Harbor as a welcome to all visitors, immigrants, and returning Americans. The copper patina-clad statue, dedicated on October 28, 1886, commemorates the centennial of the United States and is a gesture of friendship from France to America. Frédéric Auguste Bartholdi sculpted the statue and obtained a U.S. patent useful for raising construction funds through the sale of miniatures. Alexandre Gustave Eiffel (designer of the Eiffel Tower) engineered the internal structure. Eu-
gène Viollet-le-Duc was responsible for the choice of copper in the statue’s construction and adoption of the repoussé technique. The statue is of a female figure walking upright, dressed in a robe and a seven point spiked rays representing a nimbus (halo), holding a stone tablet close to her body in her left hand and a flaming torch high in her right hand. The tablet bears the words «JULY IV MDCCLXXVI» (July 4, 1776), commemorating the date of the United States Declaration of Independence. The statue is made of a sheeting of pure copper, hung on a framework of steel (originally puddled iron) with the exception of the flame of the torch, which is coated in gold leaf. It stands atop a rectangular stonework pedestal with a
Statue of libert y foundation in the shape of an irregular eleven-pointed star. The statue is 151 feet 1 inch (46.5 m) tall, with the pedestal and foundation adding another 154 feet (46.9 m). Worldwide, the Statue of Liberty is one of the most recognizable icons of the United States,[2] and, more generally, represents liberty and escape from oppression. The Statue of Liberty was, from 1886 until the jet age, often one of the first glimpses of the United States for millions of immigrants after ocean voyages from Europe. Visually, the Statue of Liberty appears to draw inspiration from il Sancarlone or the Colossus of Rhodes. The statue is a central part of Statue of Liberty National Monument, administered by the National Park Service. En francais La Liberté éclairant le monde1 (Liberty Enlightening The World), plus connue sous le nom de Statue de la Liberté (Statue Of Liberty), est l’un des monuments les plus célèbres des États-Unis. Cette statue monumentale est située à New York, sur l’île de Liberty Island au sud de Manhattan, à l’embouchure de l’Hudson et à proximité d’ Ellis Island. Elle fut construite en France et offerte par le peuple français, en signe d’amitié entre les deux nations, pour célébrer le centenaire de la Déclaration d’indé-
pendance américaine. La statue fut découverte au grand jour le 28 octobre 1886 en présence du président des États-Unis, Grover Cleveland. L’idée venait du juriste et professeur au Collège de France Édouard de Laboulaye, en 1865. Le projet fut confié, en 1871, au sculpteur français Auguste Bartholdi. Pour le choix des cuivres devant être employés à la construction, l’architecte Eugène Viollet-le-Duc eut l’idée de la technique du repoussé. En 1879, à la mort de Viollet-le-Duc, Bartholdi fit appel à l’ingénieur Gustave Eiffel pour décider de la structure interne de la statue. Ce dernier imagina un pylône métallique supportant les plaques de cuivre martelées et fixées. La statue fait partie des National Historic Landmarks depuis le 15 octobre 1924 et de la liste du patrimoine mondial de l’UNESCO depuis 19842. La statue de la Liberté, en plus d’être un monument très important de la ville de New York, est devenue l’un des symboles des États-Unis et représente de manière plus générale la liberté et l’émancipation vis-à-vis de l’oppression. De son inauguration en 1886 jusqu’au Jet Age3, la statue a ainsi été la première vision des États-Unis pour des millions d’immigrants, après une longue traversée de l’océan Atlantique. Au plan de l’architecture, la statue rappelle le Colosse de Rhodes qui était l’une des
sept merveilles du monde antique. Elle constitue l’élément principal du Statue of Liberty National Monument qui est géré par le National Park Service. Après les attentats du 11 septembre 2001, l’accès a été interdit pour des raisons de sécurité : le piédestal a rouvert en 2004 et la statue en 2009, avec une limitation du nombre de visiteurs autorisés à accéder à la couronne. La statue (y compris le piédestal et la base) a été fermée pendant une année jusqu’au 28 octobre 2012, pour qu’un escalier secondaire et d’autres dispositifs de sécurité puissent être installés (l’accès à l’île est cependant resté ouvert). Un jour après la réouverture, l’accès a été de nouveau interdit en raison des effets dévastateurs de l’Ouragan Sandy. Les accès à l’île et à la statue ont été rouverts le 4 juillet 20134 (L’accès du public au balcon entourant la torche est toujours interdit, pour des raisons de sécurité, depuis 1916).
St. John the divine
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St. John The divine Informations générales
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Architecte Heins & La Farge [1892-1911]; Cram and Ferguson, Carrere & Hastings, Thomas Nash and Henry Vaughn [1911-1942]; James Bambridge [1979-present] Adresse Amsterdam Avenue and 112th Street. Date de réalisation 1892 Style Gothic Construction Stone Type Eglise
The Cathedral of St. John the Divine, officially the Cathedral Church of Saint John the Divine in the City and Diocese of New York, is the Cathedral of the Episcopal Diocese of New York. Located at 1047 Amsterdam Avenue New York, NY 10025 (between West 110th Street, which is also known as «Cathedral Parkway», and 113 Street) in Manhattan’s Morningside Heights, the cathedral is claimed to be the largest cathedral and Anglican church and third largest Christian church in the world (although the title is disputed with Liverpool Anglican Cathedral).
The cathedral, designed in 1888 and begun in 1892, has, in its history, undergone radical stylistic changes and the interruption of the two World Wars. It remains unfinished, with construction and restoration a continuing process.
St Patrick’s Catherdral
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Architecte James Renwick Jr. and William Rodrigue Adresse Fifth Avenue, bet. E50 and E51. Date de réalisation 1851-79, towers 1888 Style Gothic Revival Construction Pierre Type Eglise
St. Patrick’s Cathedral is the largest decorated Neo-Gothic-style Catholic cathedral in North America. It is the seat of the archbishop of the Roman Catholic Archdiocese of New York, and a parish church, located on Fifth Avenue between 50th and 51st streets in Manhattan. It faces Rockefeller Center.
of St. John the Divine. A Lady Chapel, added to the Madison Avenue side of the Cathedral in 1906, is more impressive than the rest of the edifice. When construction began, the Cathedral was located on the outskirts of town in an area of slaughter houses and cattle yards. As construction progressed, the city advanced northwards to the area The Cathedral of New York’s Catholic around St. Patrick’s. Nevertheless, the Archdiocese and seat of its Cardinal, site remained somewhat ‘tainted’ in the in its early years this elaborate building minds of 19th century New Yorkers. served, among others, the working class, immigrant Catholic staff who were employed by the city’s Episcopalian elite. The Cathedral’s Gothic Revival design is based on French models. Somewhat generic in its form, it lacks the quaint flavor of Grace and Trinity Churches and the mysterious grandeur
St. Regis - sheraton hotel
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Architecte Trowbridge & Livingston , Sloan & Robertson (expansion) Adresse 2 E55 at Fifth Ave. Date de réalisation 1904; 1927 (expansion) Style Second Empire Baroque Construction Developer: Col. John Jacob Astor Type Hotel
«The public rooms in the St. Regis were relatively small, a subtle indication that the management did not want the crowds that milled in Peacock Alley at the Waldorf-Astoria or in the vast lobby of the Astor in Times Square. On the Fifth Avenue side was an outdoor terrace were one could have refreshments, lost when Fifth Avenue was widened... During the nightclub years of the 1930’s the St. Regis had many clubs, attracting for the most part a rather conservative and very well-heeled crowd. Joseph Urban[n], the flamboyant architect, designed the Seaglades nightclub, where Vincent Lopez’s orchesta played.
During the summer they played for dancing in the Japanese-style roof garden of the hotel,» Patterson wrote, adding that the hotel was named after St. Regis Lake in the Adirondacks, a popular resort at the time.
Trinity church
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Architecte Richard Upjohn Adresse 78-79 Broadway at Wall Street Date de réalisation 1846 Style Gothic Revival Construction Brownstone Type Eglise
Trinity Church, at 74 Trinity Place in New York City, is a historic full service parish church in the Episcopal Diocese of New York. Trinity Church is located at the intersection of Broadway and Wall Street in downtown Manhattan. St. Paul’s Chapel, part of the Parish of Trinity Church, is the oldest public building in continuous use in New York City. Trinity Episcopal Church in Fishkill, New York was started in 1756 with the missionary assistance of Trinity Church. Photo of Trinity Church and the schoolhouse of Trinity School (c. 17??). At the time of its completion, in 1846, its 281-foot spire and cross was the highest point in New York until being surpassed in 1890 by the New York World Building.
On July 9, 1976, the church was visited by Queen Elizabeth II of the United Kingdom, and she was presented with a symbolic «back rent» of 279 peppercorns. Since 1993, Trinity church has been the location which the High School of Economics and Finance holds their senior graduation ceremonies. The school is located on Trinity Place (a few blocks away from the church).
Time Warner Center
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Sculpteur David Childs of Skidmore, Owings & Merrill LLP Adresse 10 Columbus Circle Date de réalisation 2003 Style Late Modern (International Style III) Construction Height: 750 ft (229 m) Floors over ground: 55 Type Bureaux
The Time Warner Center is a mixed-use skyscraper developed by The Related Companies in New York City. Its design, by David Childs and Mustafa Kemal Abadan of Skidmore, Owings & Merrill, consists of two 229 m (750 ft) towers bridged by a multi-story atrium containing upscale retail shops. Construction began in November 2000, following the demolition of the New York Coliseum, and a topping-out ceremony was held on February 27, 2003. It is the property with the highest-listed market value in New York City, $1.1 billion in 2006. Originally constructed as the «AOL Time Warner Center,» the building surrounds half of Columbus Circle in Midtown Manhattan. The total floor area of 260,000 m² (2.8 million ft²) is divided between of-
fices (notably the offices of Time Warner Inc.), residential condominiums, and the Mandarin Oriental hotel. The Shops at Columbus Circle is an upscale shopping mall located in a curving arcade at the base of the building, with a large Whole Foods Market grocery store in the basement. The complex is also home to a 1,200 seat theater for Jazz at Lincoln Center as well as CNN studios, from where Anderson Cooper 360° and Lou Dobbs Tonight, among other shows, are broadcast live. CNN’s Jeanne Moos, known for her offbeat «man on the street» reporting, frequently accosts her interview subjects just outside the building. In 2005, Jazz at Lincoln Center announced a partnership with XM Satellite Radio which gave XM studio space at Frederick P. Rose Hall to broadcast
Time Warner Center both daily jazz programming and special completion of the Time Warner Center, events such as an Aartist Confidential Trump made a “little joke” at the Time show featuring Carlos Santana. Warner Center’s expense by hanging a large sign on his building gloating, “Your Design and construction views aren’t so great, are they?” The Time Warner Center was the first major building to be completed in Manhattan after the September 11, 2001, terrorist attacks, although it was already under construction in 2001. While some New Yorkers noted the uncanny resemblance of the Time Warner Center to the fallen Twin Towers, the building’s developer disclaimed to the press any intentional similarity.[4] The building drew publicity in 2003 when Mexican financier David Martinez paid $54.7 million dollars for a penthouse condo, then a record for New York residential sales. The building’s street address is officially 10 Columbus Circle, but the developers use the name “One Central Park” to promote the residential units. The address One Central Park West, meanwhile, belongs to a tower across the street owned by Donald Trump. Upon the
The design of Time Warner Center pays homage to the streets of New York: The curvature of the base helps frame Columbus Circle, the angle of the two towers aligns with Broadway, and the space between the towers gives the illusion that 59th Street passes through. In addition, the rectangular patterns on the glass curtain wall overlooking Columbus Circle suggest the Manhattan street grid. In the Wall Street Journal, Ada Louise Huxtable describes it as «exactly what a New York skyscraper should be--a soaring, shining, glamorous affirmation of the city’s reach and power, and its best real architecture in a long time. Its two tall towers rise from symmetrical lower sections rotated in a bow to the Circle, where the huge building morphs into pedestrian shops and restaurants at
ground level. But the wonder is the delicacy, the elegance, of these perfectly calibrated, glittering glass facades, the suave, sharp-edged precision that is amazingly subtle and refined for a structure of this enormous size.» The complex has an interesting geometry derived from its site, its concave front facing onto the curve of Columbus Circle (at the southwest corner of Central Park), and its dominant twin towers shaped as parallelograms, their shorter sides aligned with the streets in the Manhattan grid, and their longer sides with Broadway, cutting obliquely through the grid from Columbus Circle. Its scale is huge: a $1.7 billion investment bringing a major upscale shopping mall, a 5-star hotel, offices for 1,700 Time Warner employees and other companies, television studios, a jazz concert hall, residential apartments and more. The sense of scale and power is exacerbated by the unplanned significance of raising new twin towers in New York so soon after September 2001. The location and the power are exhilarating, though the forms of the buildings themselves, and the detailing, are all quite underwhelming. It is hard to see the Time Warner Center as beautiful, or elegant, or inspiring architecture - although some do. It is an impressively large project completed on time, which will succeed as the landmark it seeks to be because of its technical credentials, and the scale of the new amenities it offers in a terrific site in New York’s midtown.
TWA Terminal - jfk airoport
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Architecte Eero Saarinen Adresse Jamaica, New York, USA Date de réalisation 1956-1962 Style Moderne Type Aeroport
Conçu et dessiné par l’architecte américano-finlandais Eero Saarinen pour la Trans World Airlines, il fut inauguré le 28 mai 1962. Lorsque American Airlines racheta la TWA en 2001, le terminal fut fermé et reste inoccupé depuis cette date, seulement ouvert au public lors de quelques expositions ponctuelles, dont la performance VB54 Terminal 5 de Vanessa Beecroft en 2004. Son architecture et sa conception, révolutionnaires pour l’époque, le rendent cependant inadapté aux nouvelles contraintes de sécurité mise en place après les attentats du 11 septembre 2001. En décembre 2005, la compagnie aérienne JetBlue Airways, occupant déjà
le terminal 6 de l’aéroport commença l’aménagement du TWA Flight Center pour en faire la porte d’entrée de son futur terminal. L’inauguration du «nouveau» terminal 5 eut lieu le 22 octobre 2008 If you have ever flown in or out of the John F. Kennedy International Airport in New York, you may have experienced or noticed Eero Saarinen’s Trans World Flight Center. Even in the hustle and bustle of a busy airport, the building deserves more than just a passing glance. When Saarinen was commissioned in 1956, the client wanted this building to capture the “spirit of flight,” and as visitors rush to make it to their flight there is no choice but to admire the swooping concrete curves that embraced flyers
TWA Terminal - jfk airoport into the jet age. In order to capture the concept of flight, Saarinen used curves to create spaces that flowed into one another. The exterior’s concrete roof imitates a bird in flight with two massive “wings.” The interior consists of a continuous ribbon of elements, all whisking themselves in from the exterior, so that ceilings continously run into walls and those walls become floors. “All the curves, all the spaces and elements right down to the shape of the signs, display boards, railings and check-in desks were to be of a matching nature. We wanted passengers passing through the building to experience a fully-designed environment, in which each part arises from another and everything belongs to the same formal world,” stated Eero Saarinen during construction in 1959. The structure consists of a shell of reinforced concrete with four segments that extend outward from a central point. The concrete “wings” then unfold on either side of the exterior, preparing for flight. Within the concrete, the structure is reinforced with a web of steel. The large panels of glass beneath the concrete are also supported with steel, and have a contemporary purple-tint. These glass walls are tilted towards the exterior at an angle as they reach the ceiling, as if intended for viewers to imagine looking out from a plane to the earth below. These windows also highlight
the purpose of the structure, providing views of departing and arriving jets. Saarinen died of a brain tumor in 1961, a year before the romantic structure was completed. Seven years after its completion, a new departure-arrival concourse and lounge were added to the terminal. This, however, did not help the financial deterioration the terminal slowly began to experience. When first designed, JFK International Airport envisioned having different terminals for different airline companies. The idea was more successful on paper than when brought to life, and the terminal was shut down in 2001. The TWA Terminal became an official landmark in 1994, voted on by the Landmarks Preservation Commission. In 2005 the Port Authority of New York and New Jersey began construction of a new terminal facility for JetBlue Airways which was completed in 2008 and now partially encircles Saarinen’s terminal. The original structure has not yet undergone the necessary renovations due to aging of the structure and is still closed to the public. Other proposals include an addition of an aviation museum or a restaurant. Even so, the TWA Terminal represents a moment of optimism and ambition in the American economy and in architectural history, as well as an inventive interaction between engineering and architecture.
WALDORF - ASTORIA HOTEL
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Architecte Schultze & Weaver Adresse 301 Park Ave., between E49 and E50. Date de réalisation 1929-1931 Style Art Deco Construction Base is of granite facing, and the upper facade is clad in brick and limestone. 625 ft. (191 m) Type Hotel
Designed by the renowned hotel architects (Sherry Netherland, Pierre) Schultze & Weaver, the 47-storey new hotel cost $42 million and was the largest in the world at the time of its completion. Crowning the luxurious and monumental hotel (2,200 rooms occupying a whole city block), the twin Waldorf Towers rise to 190.5 m, high above the 20 floors of the main hotel building.
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Building’s base is of granite facing, and the upper facade is clad in brick and limestone. The towers are topped with stylized bronze-clad cupolas. There are a number of lobbies running through the building, decorated with murals, and the Park Avenue lobby has the floor mosaic The Wheel of Life by Louis Rigal. The 3 m high clock in the central lobby originated from the 1893 Chicago World Fair and was subsequently bought by the Astor Family for the old hotel. The clock’s eight-faced base is decorated with portraits of American presidents and Queen Victoria and the quarterly chime sound is copied from the London Westminster Cathedral’s clock tower.
The private apartments of the Waldorf Towers, which has its own entrance on 50th Street, has seen many famous tenants from the Duke of Windsor and Douglas MacArthur to «Lucky» Luciano. The presidential suite at the 35th floor has been the traditional staying place of the President of the United States while The 53-meter long Starlight Roof was in New York City.
WALDORF - ASTORIA HOTEL in its heyday in the 1930s and 1940s a high-society meeting place, from which also regular radio broadcasts were sent. The room occupies the Park Avenue side setback and has floor-to-ceiling windows extending along the whole wall, as well as an outdoor terrace. The 6 m high ceiling of the room is covered with a grille and -- giving the room its name -- originally had a retractable roof. The large hotel ballroom, the place for prominent galas and promotional parties, is four storeys high and several smaller ballrooms are adjoined to it. In all, the hotel’s ballrooms could accomodate 6,000 people. Built above the railway tracks leading to Grand Central Terminal, the hotel had also its own underground railroad siding and an elevator for direct entrance from private railway cars. In 1999 the hotel underwent a $60 million renovation, restoring also the original lobby decor. Two years later, the Starlight Roof underwent a renovation, although the retractable roof of the original was not restored.
woolworth building
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Architecte Cass Gilbert Adresse 233 Broadway Date de réalisation 1911-1913 Style Neo-Gothic, Art Deco Construction Height: 792 feet, 241 meters Rising from a 27-storey base, with limestone and granite lower floors, the tower is clad in white terra-cotta and capped with an elaborate set-back Gothic top, with the spire rising to the height of 241.5 m. It was to be the tallest building in the world for 17 years, until the 40 Wall Street. Type Bureaux
The Woolworth Building, at fifty-seven stories, is one of the oldest — and one of the most famous — skyscrapers in New York City. More than ninety years after its construction, it is still one of the fifty tallest buildings in the United States as well as one of the twenty tallest buildings in New York City. The building is a National Historic Landmark, having been listed in 1966.
Constructed in neo-Gothic style by architect Cass Gilbert, who was commissioned by Frank Woolworth in 1910 to design the new corporate headquarters on Broadway, between Park Place and Barclay Street in Lower Manhattan, opposite City Hall, the Woolworth Building opened on April 24, 1913. Originally planned to be 625 feet (190.5 meters) high, in accordance with the area zoning laws, the building was elevated to 792 feet (241 meters); construction cost was US$13,500,000 and Woolworth paid in cash. With splendor and a resemblance to European Gothic cathedrals, the structure was labeled the Cathedral of Commerce by the Reverend S. Parkes Cadman during the opening ceremony.
woolworth building The tallest building in the world until the construction of 40 Wall Street and the Chrysler Building in 1930, an observation deck on the 58th floor attracted visitors until 1945. The building’s tower, flush with the main frontage on Broadway, is raised on a block base with a narrow interior court for light. The exterior decoration was cast in limestone-colored, glazed architectural terra-cotta panels. Strongly articulated piers, carried — without interrupting cornices — right to the pyramidal cap, give the building its upward thrust. The Gothic detailing concentrated at the highly visible top is massively scaled, able to be read from the street level several hundred feet below. The ornate, cruciform lobby has a vaulted ceiling, mosaics, and sculpted caricatures that include Gilbert and Woolworth. Woolworth’s private office, revetted in marble in French Empire style is preserved. Engineers Gunvald Aus and Kort Berle designed the steel frame, supported on massive caissons that penetrate to bedrock. The high-speed elevators were innovative, and the building’s high office-to-elevator ratio made the structure profitable. Tenants included the Irving Trust bank and Columbia Records, who housed a recording studio in the building. Recently Owned by the Woolworth company for 85 years until 1998, when the Venator Group (formerly the F.W. Woolworth Company) sold the building to the Witkoff Group for $155 million. After the September 11, 2001 attacks a few blocks away, the building was without electricity and telephone service for a few weeks but suffered no significant damage. Increased post-attack security restricted access to most of the ornate lobby, previously a tourist attraction. The structure has a long association with higher education, housing a number of Fordham University schools in the early 20th century. Today the building houses, among other tenants, Control Group Inc, and the New York University School of Continuing and Professional Studies’ Center for Global Affairs.
2007 film Enchanted. The Woolworth Building is featured in In the computer game Sim City 3000, the 1999 thriller film The Bone Collector. the «Quigley Insurance» building is modeled after the Woolworth Building. In popular culture
The Woolworth Building is one of the available landmarks in the computer game Tycoon City: New York The Woolworth Building was featured in the showdown of Walt Disney Pictures’