The Little Singer Building (561 Broadway, New York City) was built in 1903. Like the (Big) Singer Building, it designed by the Beaux-Arts-trained architect Ernest Flagg for the Singer Manufacturing company. The Little Singer is an attached, zero-lot-line building, in keeping with traditional urban forms. But, unlike Flagg’s next project, it does not have a freestanding tower. Although it was sandwiched between two other buildings, the architect found ways to make it stand out, including the use of cast-iron, arches, and a recessed bay that gives shape to its distinctive color scheme (red brick and green), which presaged the palette of the Singer Tower. Today, it has a clothing store on the ground floor, with residential units above. Here it is, today:
Singer House (28 Nevsky Prospekt, Saint Petersburg) is located on one of pre-Soviet Russia’s grandest commercial strips — the Nevsky Prospekt. Designed by Pavel Suzor, and completed in 1904, the Singer House is more playful in its Art Nouveau design than either of its Beaux-Arts, New York sisters. Yet, in a less formal way, it expresses a similar tendency to combine solid materials and ornate flourishes in a way that defined the visual themes of the company. The Singer House couldn’t have a tower, because the Czar wouldn’t allow anything to exceed the height of his nearby Winter Palace. Here it is, today:
I never find a site on Google Maps without doing some virtual wandering. Roaming around Saint Petersburg on StreetView makes me want to visit. It’s a beautiful and complex city. I’m often taken aback by the incredible richness and refinement of Russia, and its contrast with the country’s seemingly interminable political harshness. It’s a mystery — which makes it interesting.
Seen above, a mural in the Liberty Tower, at Liberty and Nassau Streets, shows how the Singer Building might have appeared during its early days. The painting was commissioned by one of the great architects of recent restorations, Joseph Pell Lombardi.
Asbury Park, sometime between 1930-1945. Source: Boston Public Library/Flickr
My latest piece at TAC’s New Urbs is a look at the ongoing renaissance of Asbury Park, New Jersey. A small, Victorian-era beach city on the Monmouth County coast, Asbury Park had fallen on hard times when people my age were growing up. Apart from the Stone Pony — a music club that helped launch Springsteen and Bon Jovi — it didn’t have many live destinations. Now, that’s all beginning to change.
Image: Philip Bess/Notre Dame School of Architecture.
Philip Bess, a professor at the University of Notre Dame’s excellent School of Architecture, is directing a fascinating project called After Burnham: The Notre Dame Plan of Chicago 2109. Building on principles of classical architecture, the plan envisions the future growth of Chicago over the next century in a more holistic pattern, drawing on the traditions and philosophy of Western urbanism in past eras, and using them to shape a modern city. Bess writes:
Modernity brings with it certain genuine human goods, and the successes of modernity can be measured in part by dramatic increases in human mobility, life span, and per capita income wherever modern institutions have established themselves. But these successes come at a price. Powerful accounts abound of the human suffering entailed in the transformation of traditional societies into modern societies; and the modern view of nature as raw material for human purposes has resulted in both the potential and the reality of environmental catastrophes at unprecedented scale (often with harshest impact upon the poor) and has created wholly modern eco-discontents. Last but not least, serious questions about the cultural sustainability of modernity arise in light of the individualist / therapeutic / consumerist character-type that modern societies seem to mass-produce.
A long western intellectual tradition dating from Aristotle views cities, character virtue, and human flourishing as intimately and reciprocally related. If true —and we think it is— this should give thoughtful people pause. Ours is a time of exploding urbanization in the modernizing societies of Asia, Africa and South America, and the aftermath of nearly seventy years of American suburbanization. Both of these phenomena represent distinctively modern forms of human settlement, but neither is typically evaluated holistically with respect to the relationship of urban formal order to environmentally and culturally sustainable human wellbeing.
Detail of Venice mural from the AmEx Building. Photo: Theo Mackey Pollack
If you’ve ever been inside the lobby of the American Express Building in Lower Manhattan, you can’t have missed Craig McPherson’s haunting, beautiful murals. What I find interesting about the cityscape murals at the World Financial Center (now Brookfield Place) is that they allude to the somewhat mysterious history of modern finance; even their colors and angles present a sense of mystery — like there is a secret to be discovered, or a riddle.
Detail of Istanbul mural from the AmEx Building.
The cities depicted are key seaports of the world. Two (Venice and Istanbul) represent trading capitals of the Old World, while the others (New York City, Hong Kong, Sydney, and Rio) might be said to illustrate the global growth that was driven by the sudden expansion of Old World trade that took place after the Renaissance. What facilitated that expansion? Stock corporations and insurance companies. Both had their origins in the pooling of capital and risk to facilitate the shipping industry of that time. The capital they raised and the assets they protected drove the expansion of Western trade beyond the traditional routes of Europe and the Mediterranean. In this sense, the murals at the World Financial Center are very much part of long tradition in public-facing art: they present a romanticized narrative of a bigger (and potentially obscure) story behind the walls they adorn, and they remind of us the day-to-day work that went into that story.
On another note, the murals all survived September 11th relatively unscathed, even though the American Express Building suffered severe damage.
The Unwin article is the first of a series of pieces that I’ve been writing about classic books of planning (which also includes my more recent piece at TAC about Allan Jacobs’ Great Streets). The idea behind these essays is that there is a canon of writings about the art of traditional, Western European urban planning. It begins, one might suppose, with Aristotle’s description of Hippodamus in his Politics; and continues down through the most timeless pieces of the last century. The landscape of these books is not always apparent; and over the last century, much the oral tradition of building that once sustained these practices dissipated in the face of heavy, technical regulation and the cultural trends of modernity. In light of the renewed interest in planning as an art — and as part of a larger cultural tradition — I think these writings deserve to be read, again, by a wider audience.
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Ruins of the Baths of Caracalla, Rome, at twilight. Viale delle Terme di Caracalla follows the right-of-way of the ancient Via Appia, beyond the grass, at the far left.
My latest article at New Urbs looks at Allan Jacobs’ 1993 planning classic, Great Streets, and argues that the author’s focus on the necessary elements of placemaking, including the aesthetic details of urban planning, marked a turning point in the history of American urbanism. The entire piece can be found here.
The Amalgamated Dwellings in New York City. Photo: Theo Mackey Pollack.
I have a new article published at TAC’s New Urbs blog, about the history and legal structure of New York City’s limited-equity housing cooperatives, which continue to provide surprisingly affordable, high-quality housing units in one of the most expensive real estate markets in the United States. The piece tells the story about how limited-equity co-ops got started; their philosophical roots; their early successes; why the model declined in popularity; and how an approach that recovers its best qualities might be be compatible with various subsets of the polarized political landscape of contemporary America.
I think there’s little question that the shortage of affordable housing in the regions with the best economies is a major driving force in the structural inequality that characterizes our current moment; and that the biggest beneficiaries of this status quo are rent seekers, rather than actors who contribute anything dynamic or innovative to the economy. Taking the role of speculation out of the equation can do a lot to keep prices in line with what residents can actually afford. For the reasons described in my article, I think this is an important idea that deserves to be recovered and applied in today’s metropolitan real estate economies.
My favorite of the city’s Art Deco skyscrapers, this soaring Pine Street tower was built as the headquarters of the Cities Service Company, predecessor of Citgo. The Cities Service logo — a pyramid within a cloverleaf, usually black or green in trade dress — can be found pervasively worked into the concrete and metal exterior details, and the interior details, as well. Designed by architects at Clinton & Russell and Holton & George, the 952-foot tower opened in 1932.
Last year, I posted a batch of pictures that I had taken of the exterior details at ground level; and of the tower within the skyline of Wall Street. It is a striking tower, sleek and tapered at the top. But given the dense cluster of tall buildings that now characterize the neighborhood, it is a challenge to find a clear shot of more than its very top. Fortunately, an outside detail (above) provides a scale model of the complete tower in clean, white concrete — like the building itself.
A residential conversion was recently completed, which includes a beautiful top-to-bottom restoration of the landmark skyscraper. I doubt the building could have looked much sharper in 1932, when it opened amid the Great Depression, having been on the drawing board before the fortunes of Wall Street turned dark. The redeveloper, Rose Associates, has really done an incredible job.
Here, I include a number of new pictures of the grand lobby, the basement, and various stairwells and corridors.
Hope you enjoy. I love this building, and think you will, too.
Just some pictures from a couple of trips to New York City beaches this summer. Honey and I made it to Rockaway Beach on an absolutely beautiful day, in early August. The ocean was about as blue as you could imagine, and the beach has been completely remade with white sand and a new boardwalk, replacing the one that was destroyed during Hurricane Sandy. The little things in the photos that look like pebbles are actually tiny clams, coming in by the thousands that day with each wave, then burrowing their way into the sand when the water went out. It was really something to see.
About a week later, I wound up on a work-related field trip to the coastal parts of Brooklyn, to observe the progress that my program has made in rebuilding private homes in Gerritsen Beach, Sheepshead Bay, and Coney Island. We were supposed to have a happy hour afterwards on the Coney Island Boardwalk, but it was cancelled because of the intermittent (but occasionally heavy) rain. The neighborhood was eerie and abandoned, with wet streets and empty sidewalks. I thought it was photogenic. It’s interesting to me how many of the individual artifacts of the Coney Island my grandparents would have visited are still there — Nathan’s, Luna Park, the Cyclone; and even more interesting, from a planner’s perspective, that this famous seaside spot has never been redeveloped.
At the end, I included just a few pictures of the work that our program is getting done in the Sandy-affected parts of Brooklyn. It has been a long process getting to a point where physical progress can been seen in these places. Everyone who has been involved in since 2013 should be proud of what he or she has done, especially the homeowners and tenants who have stuck with it for the long haul.