The Landmarks of New York: An Illustrated Record of the by Barbaralee Diamonstein-Spielvogel

By Barbaralee Diamonstein-Spielvogel

The definitive source at the architectural background of recent York urban.

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Additional resources for The Landmarks of New York: An Illustrated Record of the City's Historic Buildings (Excelsior Editions)

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In the twenty-first century, who knows? Perhaps these are the structures that will be considered “classic” as New York, in its timehonored fashion, replaces them with even newer styles. A Broader Mandate for Preservation 38 Nearly a decade after the establishment of the Landmarks Preservation Commission, Ada Louise Huxtable wrote in the New York Times: “the course of preservation has undergone a remarkable transformation from an odd and harmless hobby of little old ladies in floppy hats who liked old houses to an integral, administrative part of the city government dealing with an essential part of the city’s fabric.

It was a period of rapid growth and change in the midst of the technological, economic, and ideological revolutions that were transforming America from a spread-out, agrarian society to a highly urbanized, industrial one. Although this nation’s roots still reached back to Europe, the new republic spent a century putting down indigenous ones. Bursting with the innocence and impatience of youth, the new nation was willing and eager to try anything. In architecture, styles such as the Greek Revival, Gothic Revival, and Italianate came and went as swiftly as did fashions in clothing.

Hardenbergh’s Willkie Memorial Building at 20 West 40th Street was the catalyst for certain changes in the procedures for landmark designation. The structure was identified by the Commission staff as being of landmark quality, but was never scheduled for formal consideration. Over a weekend, without any notice ever having been given to the Commission, the elaborate stone moldings and carvings on the façade were stripped away—and the building’s architectural beauty permanently lost. At about the same time, the Commission designated the Coty (which features original windows by René Lalique) and Rizzoli buildings on Fifth Avenue, after learning that a developer planned to replace them with a forty-four-story office and residential tower.

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