The Chrysler Building is an Art Deco skyscraper located on East Side of Midtown Manhattan in New York City, at the intersection of 42nd Street and Lexington Avenue in the Turtle Bay neighborhood of Manhattan. At 1,046 feet (318.9 m), the structure is the tallest building in the world for 11 months before being exceeded by the Empire State Building in 1931. It is the tallest brick building in the world with a steel frame. In 2018, Chrysler is the sixth tallest building in the city, tied up with The New York Times Building.
Originally a project of real estate developers and former New York State Senator William H. Reynolds, the building was built by Walter Chrysler, head of the Chrysler Corporation, and served as corporate headquarters from the 1930s until the mid-1950s. Chrysler Building Construction is characterized by competition with 40 Wall Street and the Empire State Building to become the tallest building in the world. Although the Chrysler Building was built and designed specifically for automobile manufacturers, the company did not pay for its construction and never had it, as Walter P. Chrysler decided to pay for it himself, so that his children could inherit it.
When the Chrysler Building opened, there were mixed reviews of building design, ranging from insane and unoriginal to modernist and iconic. The perception of the building has slowly evolved into what is now seen as a paragon of the Art Deco architectural style; and in 2007, it was ranked ninth on America's Favorite Architectural List by the American Institute of Architects.
Video Chrysler Building
History
Context
In the mid-1920s, the New York metropolitan area surpassed London as the most populous metropolitan area in the world. The New York City metropolitan area exceeded ten million in the early 1930s. This era is characterized by profound social and technological changes. Consumer goods such as radio, cinema, and cars - whose use grew exponentially in the 1920s - became widespread. In 1927, Walter Chrysler automotive company, Chrysler Corporation, became the third largest automaker in the United States, behind Ford and General Motors. The following year he was named "Person of the Year" Time magazine.
The economic boom of the 1920s and speculation in the real estate market boosted a wave of new skyscraper projects in New York City. The Chrysler Building was built as part of an ongoing building boom, the city that has the tallest building in the world from 1908 to 1974. After the end of World War I, European and American architects came to view simplified designs as the epitome of the modern era and the Art Deco Skyscrapers as a symbol of progress, innovation, and modernity. The 1916 Zoning Resolution limits the altitude that the exterior walls on the roadside in New York City can go up before it needs to retreat from the road. This led to the construction of the Art Deco structure in New York City with significant setbacks, large volumes, and striking silhouettes that are often intricately decorated. The Art Deco building was built only for a short time; but since that period was in the real estate boom of the late 1920s, many skyscrapers built in the Art Deco style dominated the city's skyline, giving it the romantic qualities seen in movies and drama. The Chrysler Building Project is shaped by this state.
The land on which the Chrysler Building stood was donated to The Cooper Union for Advancement of Science and Art in 1902. The site is approximately a trapezoidal with a 201-foot (61 m) front on Lexington Avenue; a 167ft (51m) frontal on 42nd Street; and a 205-foot-long front (62 m) at 43 Street. The site is bordered by the old, pre-existing Boston Post Road, and is stranded on the edge of the Manhattan road established by the Commissioner's Plan of 1811. As a result, the east side of the building's base is equally oblique.
Planning
Initially, the Chrysler Building is the Reynolds House, a project of real estate developers and former New York State Senator William H. Reynolds. Prior to his involvement in building planning, Reynolds was renowned for developing the Dreamland Coney Island theme park. When the amusement park was destroyed by fire in 1911, Reynolds turned his attention to Manhattan real estate, where he set out to build the tallest building. build in the world.
In 1921, Reynolds rented a large plot of land on the corner of Lexington Avenue and 42nd Street with the aim of building a tall building on the site. In 1927, after several years of delays, Reynolds hired architect William Van Alen to build a four-story building there.
Van Alen is respected in his field for his work at Albemarle Building on Broadway and 24th Street, designing it in collaboration with his partner H. Craig Severance. Van Alen and Severance complement each other, with Van Alen as an original and imaginative architect and Severance become the smart businessman who handles corporate finance. However, the relationship between them becomes tense over the disagreement about how best to run the company. The top point came after the 1924 article, in Architecture Overview, which praised the Albemarle Building design, whose article was linked to Van Alen, while ignoring Severance's role altogether. The partnership of the architects was dissolved fiercely several months later, with lawsuits on clients and assets lasting a year. This will ultimately be the determinant for Chrysler Building design in the future, as more traditional architectural styles than Severance will otherwise withstand Van Alen's more modern outlook.
Design
On February 2, 1928, the proposed building height had been raised to 54 floors, which would make it the tallest building in Midtown. The proposal was changed again two weeks later, with an official plan for a 63-story building. A little over a week after that, the plan was changed for the third time, with two additional stories added. At this time, 42nd Street and Lexington Avenue are both the center of construction activities, due to the sacking of 42nd Avenue Road 42nd Street, which is seen as a disease in the area. The 52-storey Chanin Building, diagonally across the intersection of the proposed Reynolds building, is also under construction. Due to elevated spur lifting, real estate speculators believe that Lexington Avenue will become "Broadway of the East Side", causing a ripple effect that will spur further development to the east.
In April 1928, Reynolds signed a 67-year contract for the plot and completed the details of his ambitious project. Van Alen's original design for the so-called skyscraper for the base whose first floor showroom window would be three-high, and above would be 12 stories with wrapped glass corners, to create the impression that the tower was floating in the air. Reynolds's main contribution to building design is his insistence that he has a metal crown, despite the early opposition of Van Alen; metal crowns and crystals will look like "gem balls" at night. Initially, the skyscraper will rise 808 feet (246 m), with 67 floors. The plan was approved in June 1928. Van Alen's drawings were inaugurated in August and published in a magazine run by the American Institute of Architects (AIA).
Finally, this design would prove too sophisticated and expensive for Reynolds. Instead he designed an alternative design for the Reynolds Building, published in August 1928. The new design is much more conservative, with a criticized Italian dome compared to Bowman's Governor Al Smith's hat, and an upstairs brick arrangement that simulates windows in the corners, detail remaining in the current Chrysler Building. This design almost exactly reflects the shape, setbacks, and layout of today's building windows, but with different domes.
Construction and finalization of plans
With a complete design, the breakthrough for the Reynolds House took place on 19 September 1928, but Reynolds did not have the means to continue development. Reynolds sold architects, leases, plans, and architect services to Walter Chrysler for $ 2 million on October 15, 1928. On the same day, Goodwin Construction Company began destroying what had been built. A contract was awarded on October 28, and the demolition was completed on 9 November. Chrysler's initial plan for the building was similar to Reynolds, but with the 808-foot building having 68 floors instead of 67. The plan is a pedestrian walkway on the ground floor. , a stone facade beneath the fifth floor, a brick-and-terracotta facade above, and a "three-story observation dome" with "bronze and glass" at the top. However, Chrysler wants a more progressive design, and he works with Van Alen to redesign the skyscraper to be 925 feet (282 m) tall. At new heights, the Chrysler building will be taller than the 792 foot (241 m) Woolworth Building, a building in lower Manhattan that is the highest in the world at the time.
From late 1928 to early 1929, dome design modifications continued. In March 1929, the press published details of a giant three-pointed "artistic dome" that would be crowned by a five-meter-high statue. The final design of the dome includes multiple arches and triangular windows. Downward, the design was influenced by Walter Chrysler's desire to create the Chrysler Corporation headquarters building, and thus, architectural details were modeled after Chrysler's car products, such as Plymouth hood ornaments (see Ã, Â · Design between setbacks). The building gargoyles on the 31st floor and the hawks on the 61st floor, are designed to denote the flight, and to give an example of the age of 1920s engines. Even the top needle was built using a process similar to one Chrysler used to produce its cars, with the right "handwriting". In his autobiography, Chrysler says he suggested that the building is taller than the Eiffel Tower.
Meanwhile, the excavation of the new 69-foot (21 m) building foundation began in mid-November 1928 and completed in mid-January 1929, when the bedrock was reached. A total of 105,000,000 pounds (48,000,000 kg) of rocks and 36,000,000 pounds (16,000,000 kg) of soil were excavated for foundation, equal to 63% of future building weights. The construction of the right building began on 21 January 1929. The Carnegie Steel Company provided steel beams, first installed on March 27, and on April 9, the first upright beam had been installed. The steel structure was "several floors" high in June 1929, 35 floors high in early August, and completed in September. Despite an elaborate steel construction rate of about four floors per week, no worker died during the construction of the skyscraper. Chrysler praised this achievement, saying, "This is the first time that any structure in the world has reached such a height, but the entire steel construction is completed without loss of life". In total, 391,881 rivets were used, and about 3,826,000 bricks were laid manually to create non-loaded walls from skyscrapers. Walter Chrysler personally financed the construction with his earnings from his car company. High Building Chrysler officially surpassed Woolworth on October 16, 1929, thus becoming the tallest structure in the world.
In the same year when the Chrysler Building development began, banker George L. Ohrstrom proposed the construction of a 47-storey office building at 40 Wall Street in the city center. Soon Ohrstrom modified the project to 60 floors, but still under Woolworth and the 808-foot Chrysler Building project as announced in 1928. H. Craig Severance, a former partner of Van Alen and architect of Wall Street 40, raised 40 Wall's to 840 feet ( 260 m) with 62 floors in April of that year. Thus it will exceed Woolworth's height of 48 feet (15 m) and Chrysler by 32 feet (9.8 m). Wall Street and Chrysler Building began competing for the distinction of "the tallest building in the world". The Empire State Building, at 34th Street and Fifth Avenue, entered the competition in 1929. The "Race into the Sky", as popular media called it at the time, was representative of the country's optimism in the 1920s, which helped fuel building boom in big cities. Tower 40 Wall Street was revised from 840 feet (260 m) to 925 feet in April 1929, which would make it the highest in the world. Severance increases the project height and then publicly claims the title of the tallest building in the world. Construction of 40 Wall Street began in May 1929 at a frantic pace, and that was completed twelve months later.
In response, Van Alen obtained permission for the tower as high as 125 feet (38 m) and has been quietly built within the frame of the building. The top of the tower is sent to the site in four different sections. On October 23, 1929, a week after surpassing the height of the Woolworth Building and one day before Crash Wall Street that destroyed the year 1929 began, the tower was made. According to one account, "the bottom of the top of the tower was lifted to the top of the building's dome and lowered to the 66th floor of the building." Then, within 90 minutes the rest of the tower was lifted and glued in a row, helping to raise the tower's height to 1,046 feet. Van Alen, who watched the process from the road along with the engineers and Walter Chrysler, compared the experience of watching butterflies leaving his cocoon.
In "The Structure and Metal Work of Chrysler Building", an article published in the Architecture Forum in October 1930, Van Alen explains the design and construction of crowns and needles:
High tower structure with needle-like termination designed to overcome the dome. It's 185 feet high and 8 square feet at the bottom. It consists of four corner angles, with the angle of strut light and diagonal members, all say weighing 27 tons. It is impossible to assemble this structure and lift it as a unit of the ground, and it is equally impossible to lift it in several parts and place it that way in the final position. In addition, it would be more spectacular, for the value of publicity, so that the needle of this cloud oppressor arose unexpectedly.
The steel ends carry the Chrysler Building to a height of 1,046 feet (319 m), greatly exceeding the height of 40 Wall Street. However, contemporary news media did not write about the erection of the tower, nor was there a press release celebrating the installation of the tower. Even the New York Herald Tribune, which has continuous tower construction, does not report tower installation until a few days after the top of the tower is raised.
Chrysler realized that the tower height would exceed the Empire State Building as well, having ordered Van Alen to transform the original Chrysler roof from a short Romanesque dome into a narrow steel tower. However, Empire State developer John J. Raskob reviewed the plan and realized that he could add five more floors and one own tower to his 80-storey building, and then acquire the nearby plot necessary to support the heightening of the building. Two days later, the co-developer of the Empire State Building, former Governor of Al Smith, announced an updated plan for the skyscraper, with an observation deck on the 86th floor roof at an altitude of 1,050 feet (320 m), higher than Chrysler's Floor Observation Deck 71.
Enhancement
In January 1930, it was announced that the Chrysler Corporation would retain offices in the Chrysler Building during the Automotive Performance Week, and the first rental by an outside tenant was announced in April 1930, before the building was officially completed. The building was officially opened on May 27, 1930, in a ceremony that coincided with the meeting of the Association of Property Owners and Traders of the 42nd year. In the lobby of the building, a bronze plaque that reads "in recognition of Mr. Chrysler's contribution to civilian progress" was introduced. Former Governor Smith, former MP Martin G. McCue, and chairman of the 42nd Street Association, George W. Sweeney was among those present. In June, it was reported that 65% of the available space had been leased. In August, the building was declared complete, but the New York City Department of Construction did not mark it completed until February 1932.
The height of the top of the tower allows the Chrysler Building to surpass 40 Wall Street as the tallest building in the world and the Eiffel Tower as the tallest structure. The Chrysler Building is thus the first man-made structure to be taller than 1,000 feet (300 m); and as recorded by one newspaper, the tower is also higher than the five-state high point. The Chrysler Building was valued at $ 14 million, but exempt from city tax per law of 1859 which grants tax exemptions to sites owned by Cooper Union. City has been trying to lift tax exemptions, but Cooper Union is against that measure. Since Chrysler Building retains tax exemption, it has paid Cooper Union for the use of their land since it opened.
Van Alen's satisfaction with this achievement seemed to be dampened by Walter Chrysler's refusal to pay the balance of his architectural costs. Chrysler alleged that Van Alen received a bribe from a supplier, and Van Alen did not sign a contract with Walter Chrysler when he took over the project. Van Alen sues and the court decides to support him, requiring Chrysler to pay Van Allen $ 840,000, or 6% of the total building budget. However, the lawsuit against Chrysler significantly reduced Van Alen's reputation as an architect, who, along with the effects of the Great Depression and negative criticism, ultimately destroyed his career. Van Alen ended his career as professor of sculpture at the Beaux-Arts Institute of Design and died in 1954. According to author Neal Bascomb, "The Chrysler Building is his greatest achievement, and that ensures his obscurity."
The completed Chrysler building collects mixed reviews in the media. Van Alen was hailed as the "Height Doctor" by Architect magazine, while architect Kenneth Murchison referred to Van Alen as his "Ziegfeld profession", comparing it to popular Broadway producer Florenz Ziegfeld Jr. The building was praised for "the expression of the activity that intense and living life in our time ", and to" vigorously with modernism,... the emblem of modern business life, stand [for] advancement in architecture and in modern building methods. "An anonymous critic writes in Architecture Forum 's October 1930 edition: "The Chrysler... stands alone, something separate and alone.This is just a realization, fulfillment in metal and stone, from one man's dream, ambition dream and magnitude like to oppose the understanding and criticism of ordinary people or by ordinary standards. "Negative critics including journalist George S. Chappell, who calls Chrysler's design" is clearly an action design, evolved to making men on the streets looking ", and Douglas Haskell, who says that buildings" embody no compelling organic ideas. " Others compare the Chrysler Building with "swordfish being reversed", or claim that it has a similar design "Nemo Kecil". Lewis Mumford, a supporter of International Style and one of the greatest architectural critics of the United States at the time, hated the building for its "silly romanticism, meaningless emptiness, [and] emptying symbolism."
The establishment of the Chrysler Building as the tallest building in the world is only short-lived. John Raskob noticed the 1,050-foot-tall Empire State building only 4ft (1.2m) taller than the Chrysler House, and Raskob feared that Walter Chrysler might try "pulling a hoax like hiding a stick at the top of the tower and then sticking out at the last minute." Another revision carrying the roof of the Empire State Building to 1,250 feet (380 m), making it the tallest building in the world away when it opened on May 1, 1931. However, the Chrysler Building is still the world's tallest steel-supported brick building. The Chrysler building fared better commercially than the Empire State Building: in 1935, Chrysler had rented 70% of its floor space, while Empire State only leased 23% of its area and was popularly mocked as "Empty State Building". ".
Contrary to popular belief, Chrysler Corporation has never been involved in the building or ownership of the Chrysler Building, although it was built and designed for the company and served as its headquarters until the mid-1950s. It was Walter P. Chrysler's project for his children. In his autobiography, Chrysler writes that he wants to build a building "in order for his son to have something to take responsibility".
Next history
The Chrysler family inherited the property after Walter Chrysler's death in 1940, with the property under ownership W.P. Chrysler Building Corporation. In 1944, the company proposed plans to build an annex 38 floors east of the building, at 666 Third Avenue. In 1949, this was revised into a 32-story attachment for $ 9 million. Additional buildings, designed by Reinhard, Hofmeister & amp; Walquist, has a facade similar to the original Chrysler Building. The stone for the original building is no longer produced, and must be replicated specifically. Construction began in the annex in June 1950, and the first tenant began renting in June 1951. The building itself was completed in 1952, and the sky bridge connecting the seventh floor of the second building was built in 1959.
The family sold the building in 1953 to William Zeckendorf for a price valued at $ 18 million. The 1953 deal includes a pavilion and the nearby Graybar Building, which along with the Chrysler Building sells for $ 52 million. In 1957, the Chrysler Building, its auxiliary building, and the nearby Graybar Building, on 43rd Street, sold for $ 66 million in what was reported as the largest real estate sale at the time. In 1960, the complex was purchased by Sol Goldman and Alex DiLorenzo, who received mortgages from Massachusetts Mutual Life Insurance Company. In 1961, the stainless steel elements of the building, including needles, crowns, gargoyles, and entrances, were polished for the first time. A group of ten workers cleans the facade below the 30th floor, and manually cleans the tower section above the 30th floor, at a cost of about $ 200,000.
Massachusetts Mutual gained direct ownership in 1975 after Goldman and DiLorenzo failed to pay the mortgage. The company bought the building for $ 35 million. In 1978, they drafted plans to renovate facades, heating, ventilation, air conditioning, elevators, lobby mural, and Cloud Club headquarters in a $ 23 million project. The renovation was completed in 1979. They delegated the building space lease to Edward S. Gordon Company, which leased 750,000 square feet (70,000 m 2 ) empty space within five years. During the ownership of Massachusetts Mutual of the Chrysler Building, the tower received two historic designations. The building was designated as a National Historic Landmark in 1976, and as a New York City Landmark in 1978, though the city marked only the lobby and facade. Massachusetts Mutual has opposed the appointment of city landmarks because "it will cause an 'inevitable delay' in moving new tenants into skyscrapers". At that time, the building has 500,000 square feet (46,000 m 2 ) of empty floor space, representing 40% of the total floor area. In September 1979, the building was sold again, this time to businessman and owner of Washington Redskins, Jack Kent Cooke, in a deal that also transferred ownership of Los Angeles and Lakers King to Jerry Buss.
The highlight of the tower underwent a restoration completed in 1995. The joints on the observation deck are now covered polished, and the facade is restored, as part of a $ 1.5 million project. Some broken steel strips of needles are replaced and some parts of gargoyles are welded together. Cleaning received the Kennedy G. Moses Preservation Award of New York Landmarks for 1997. Cooke died in 1997, and the debtor moved to seize unpaid expenses on the estate immediately afterwards. Tishman Speyer Properties and Travelers Insurance Group bought Chrysler Center in 1997-1998 about $ 220 million (equivalent to $ 340 million in 2017) from a consortium of banks and plantations Jack Kent Cooke. Tishman Speyer Properties has negotiated a 150-year lease from Cooper Union, and college continues to own land under the Chrysler Building. Cooper Union's name is on deed.
In 2001, 75% of the shares in the building were sold, for US $ 300 million (equivalent to $ 410 million in 2017), to TMW, the German branch of an investment fund based in Atlanta. In June 2008, it was reported that the Abu Dhabi Investment Board was negotiating to buy 75% of TMW's interest, 15% interest from Tishman Speyer Properties in the building, and part of the nearby Trylons retail structure at a price of US $ 800 million.. In July 2008, it was announced that the transaction had been completed, and that the Abu Dhabi Investment Board is now 90% of the owners of the building, with Tishman Speyer retaining 10%.
From 2010 to 2011, building energy, pipes, and waste management systems are being renovated. This resulted in a 21% decline in total building energy consumption, a 64% reduction in water consumption, and a 81% level of recycled waste. In 2012, the building received LEED Gold accreditation from the US Green Building Board, which recognizes environmental sustainability and building energy efficiency.
Maps Chrysler Building
Architecture
The Chrysler Building is considered the prime example of Art Deco architecture. It is built from a steel frame filled with stones, with a decorative metal plating field. This structure has 3,862 exterior windows. About fifty metal ornaments stand out in a corner of a five-story building that reminiscent of gargoyles in Gothic cathedrals. The 31st floor contains a gargoyle and a replica of the 1929 Chrysler radiator cap, the 61st hawk, the nod of an American national bird.
The Chrysler Building uses extensively lightened "Nirosta" stainless steel in its design, austenitic alloy developed in Germany by Krupp (the German acronym for ni cht ro Sta hl , which means "steel is not rusty"). This is the first use of this "stainless steel 18-8" in an American project, comprising 18% chromium and 8% nickel. Nirosta is used in exterior ornaments, window frames, crowns, and needles. Steel is an integral part of Van Alen's design, as EE Thum explains: "The use of permanent light metal is the greatest help in carrying rising lines and reduced circular shapes in roofing treatments, so as to accentuate the gradual upward swing until it completely dissolves into the sky.... "Steel producers use the Chrysler Building to evaluate the durability of products in architecture. In 1929, the American Society for Testing Materials set up an inspection committee to study its performance, which considers Chrysler Building to be the best location to do so; the subcommittee inspects the building panel every five years until 1960, when the inspection is canceled because the panel shows minimal damage.
Exterior
Setbacks
The height of the Chrysler Building building and the legally mandated setback affect Van Alen in its design. The walls of the bottom sixteen floors rise directly from the sidewalk property line, except for recesses on one side giving the "U" floor plan above the fourth floor. There was a setback on the 16th, 18th, 23rd, 28th and 31st floors, making this building in accordance with the Zoning Act of 1916. It gave the building a ziggurat sighting on one side and a U-shaped palazzo on the other. On the 31st floor, there is no setback until the 60th floor, above which the structure is channeled into a Maltese cross shape that "integrates a square axis to the finial", according to author and photographer Cervin Robinson.
The floor plan of the first sixteen floors was made as much as possible to optimize the amount of rental space on the nearest surface, which is considered most desirable. U-shaped pieces on the fourth floor serve as a shaft for airflow and illumination. The area between the 28th and 31st floors adds "visual interest to the center of the building, preventing it from being dominated by the details of the floor weight and the design that attracts the attention of the finial.They provide a base to tower columns, affecting the transition between the lower stories and the noble axis. "
Design between setback
The ground floor exterior is covered in polished black granite from Shastone, while the three floors above are made of white marble from Georgia. There are two main entrances, on Lexington Avenue and on 42nd Street, each three stories high with Shastone granite that surrounds every entrance of the proscenium. At a certain distance to each main entrance, there is a revolving door located "beneath a complex metal and glass screen," designed in such a way as to embody an Art Deco principle that reinforces the visual impact of the entrance. A smaller side door on 43rd Street is just one high level. There was a window that consisted of large-steel-Nirosta-framed windows on the ground, with office windows on the second to fourth floors.
The west and east elevations of the building contain air holes above the fourth floor, while the north and south sides contain a receding setback. Below the 16th floor, the facade is lined with white bricks interrupted by white marble ribbons in a way similar to wicker baskets. The window, arranged in a grid, has no window sills, a watering frame with a facade. Between the 16th and 24th floors, the exterior shows off a vertical white brick column separated by a window on each floor. This visual effect is made possible by the presence of aluminum spandrels between the window columns on each floor. There are abstract reliefs on spandrels 20 to 22 floors, while the 24th floor contains a 9-foot (2.7 m) decorative pineapple.
On top of the third setback, consisting of floors 24 to 27, this facade contains horizontal stripes and tortuous gray brick motifs. On the fourth setback, between the 27th and 31st floors, the shaft begins to emerge. At every corner of the 31st floor, large car-hood ornaments made of Nirosta steel serve as visually striking objects that make the base look bigger. These angular extensions help counteract the general optical illusions seen in tall buildings with horizontal bands, whose floor-floors higher usually look bigger. The 31st floor also features gray and white décor and fenders, which symbolize both Chrysler Corporation and serves as a visual sign of the Art Deco design of the building. Bonnet ornaments take the form of a mercury-winged helmet and resemble a hood ornament mounted on a Chrysler vehicle at the time.
The spindle towers are designed to emphasize both horizontally and vertically: each of the four sides of the tower contains three column windows, each framed by an unbroken brick and marble pillar that rises along the whole of each side. The spandrel that separates the window contains "alternating vertical lines in gray and white bricks", while each corner contains a horizontal row of black bricks.
Interior
The interior of the building contains several innovative elements. Partitions between the soundproof office and divided into replaceable parts, so that any layout can be changed quickly and conveniently. Underwater pipe carrying telephone and power lines.
Lobby
The triangular-shaped lobby is considered a parody of the Art Deco style, with a clear influence of German Expressionism. Chrysler wanted designs to impress architects and other car kings, so he imported various materials without considering the extra costs incurred. He covered the wall with a large sheet of red African granite. On the floor, he marks the path from the entrance to the elevator using a travertine from Siena. Initially, Van Alen's plans for lobbying included four large supporting columns, but they were removed after Chrysler objected on the grounds that the columns made the lobby seem "cramped".
The lobby has dim lighting which gives a rather subtle quality, although the appliquà © lights are very striking and iconic. The two combine to create an intimate atmosphere and act to highlight the venue. The vertical bar of fluorescent light is covered with Belgian blue marble and Mexican yellow onyx, which softens and diffuses light, to illuminate and blend with the red marble walls. The lobby also contains four elevator banks, each with a different design.
The ceiling contains a 110-by-67 foot (34 x 20 m) mural named "Transport and Human Endeavor", made by Edward Trumbull in 1930. The mural theme is "energy and human application to solve its problems." , and pays homage to the Golden Age of Aviation and the Machine Age. The mural was painted in the form of "Y" with an ocher and golden tone. The central image of a mural is "a muscular giant whose brain directs its unlimited energy to the achievement of the triumph of this mechanical era," according to a 1930 pamphlet advertising the building. This Art Deco style mural is embodied in triangle characteristics, sharp angles, slightly curved lines, chrome ornaments, and many patterns. Mural depicts several silver planes, including Spirit of St. Louis , as well as the glowing steel furnace and the building itself. There are wall panels dedicated to trackers, surveyors, masons, carpenters, plasterers, and builders. Fifty distinct figures are modeled after the workers who participated in the construction. In 1999, the mural was returned to its original state after a restoration removing the polyurethane layer and holes added in the 1970s.
Currently, the lobby is the only publicly accessible part of the Chrysler Building. When the building was opened, the first and second floors became a public exhibition area of ​​Chrysler vehicles. The exhibition was closed before World War II.
Elevator
There are 32 lifts in skyscrapers, clustered in groups of six or eight. At the time of opening, 28 of these elevators are used for passengers. Each bank serves a different floor in the building, with some "express" lifts going from the lobby to several landings in between, while the "local" lift connects the landing with the floor above this intermediate landing. As per Walter Chrysler's wishes, the elevator is designed to run at a rate of 900 feet per minute (270 m/min), although a speed limit of 700 feet per minute (210 m/min) is enforced in all city elevators at time. This restriction was released shortly after the Empire State Building opened in 1931, as the building was also equipped with high-speed lifts. The Chrysler building also has three of the world's longest elevator tunnels at the time of completion.
For a year, Van Alen painstakingly designed this elevator with the help of L.T.M. Ralston, who is in charge of developing mechanical parts of elevator elevators. The cabin was made by Otis Elevator Company, while the door was made by Tyler Company. The dimensions of each elevator are 5.5 feet (1.7 m) deep by 8 feet (2.4 m) wide. The doors are made of metal and covered with eight types of exotic wood. When the door closes, they resemble "tall fans supported by metallic palm leaves that rise through a series of silver parabolas, whose edges are backed by curved lilies" from the outside, as noted by Curcio. However, when a set of doors opens, the cabin behind the door resembles "a very beautiful Art Deco room". These elements are influenced by the Egyptian design, which significantly impacts the Art Deco style. According to Vincent Curcio, "this elevator interior is probably the most beautiful and, next to the dome, the most important feature of the entire building."
Although the wood in the elevator cabins is arranged in four archetypes, each cab has a unique wooden combination. A writer states that "if any building is based on patterned fabrics, [lifts] of course, three of the designs can be characterized as having 'geometric', 'Mexican' and vague 'art nouveau' motifs, which reflect various influences on the entire design building. "The roof of each elevator is covered with a unique metal plate for the cabin, which in turn is placed on a polished wooden pattern that is also adapted to the cabin. Hidden behind these plates is a ceiling fan. Curcio writes that this elevator "is one of the most beautiful small enclosed spaces in New York, and it is fair to say that no one has ever seen or been in it has forgotten it." Curcio compared the lifts with Ziegfeld's production curtains, noting that each lobby contained illumination that peaked in the middle and declined on both sides. The interior decor of the cabin is also a nod to Chrysler Corporation vehicles: cars built during the early years of the building have dashboards with wooden prints. The doors and interior of the cabin are regarded as outstanding marquetry work.
Basement
On the 42nd Street Chrysler Building, a staircase from the street leads directly down the building to the New York City Subway station on Grand Central-42nd Street. This is part of the original design of the structure. The Rapid Transit Interborough Company, which at the time was the operator of all routes serving the 42nd Street station, initially sued to block the construction of new entrances because it would lead to crowds, but the New York City Transport Council encouraged to allow corridors as well. Chrysler eventually built and paid for the subway entrance of the building. Working at the entrance just started in March 1930 and opened together with the Chrysler Building two months later.
The basement also has a "hydrozone water bottling unit" that will filter tap water into drinking water for building tenants. Drinkable water will then be packed and shipped to a higher floor.
Above floor 60
Cloud Club
The personal Cloud Club previously occupied the 66th to 68th floors. It opened in July 1930 with about three hundred members, all the wealthy men who formed the city elite. His creations were driven by Texaco's desire for a decent restaurant for its executives before renting fourteen floors in the building. The Cloud Club is a compromise between William van Alen's modern style and Chrysler's traditional tastes and tastes. A member must be selected, and if accepted, pay an initial fee of $ 200, plus an annual fee of $ 150 to $ 300.
There was a Tudor-style foyer on the 66th floor with oak paneling, and an old English-style roast room with wooden floors, wooden beams, wrought-iron chandeliers, and glass doors and main doors. The main dining room, located on the 67th floor, is connected to the 66th floor by a marble and bronze staircase in Renaissance style and has a futuristic appearance, with polished granite columns and carved glass applique in Art Deco style. There is a cloud mural on the ceiling, and a Manhattan mural on the north side of the dining room. It is believed that the dining room is the inspiration for the Rainbow Room and Rockefeller Center Luncheon Club, both located at 30 Rockefeller Center. On the same floor, Walter Chrysler and Texaco have a private dining room. The 68 floor mainly contains a service space.
In the 1950s and 1960s, members left the Cloud Club for other clubs. Texaco, whose executives consisted mostly of Cloud Club membership, moved to Westchester County in 1977, and the club closed two years later. Although there are several projects to rehabilitate the club or turn it into a disco or gastronomic club, this plan never materialized, as the current owner of Cooke reportedly did not want a "conventional" restaurant operating inside the old club. Tishman Speyer rented the top two floors of the old Cloud Club. The old stairs have been removed, as many of the original decorations, are pushing objections from the Art Deco Society of New York.
Private office
Initially, Walter Chrysler has a two-story apartment on floors 69 and 70 with a fireplace and private office. The office also contains the city's highest gym and bath room. Chrysler also has units on floors 58 to 60, which serve as a residence. However, Chrysler did not use much of his fitness center, instead choosing to stay at the Chrysler Corporation headquarters in Detroit. Then, floors 69 and 70 are converted into dental clinics. In 2005, a New York Times report found that one of the dentists, Charles Weiss, has been operating at the clinic's rooftop location since 1969. The office still has the original bathroom and gymnasium of the suite.
Observation deck
From the opening of the building until 1945 it contained 3,900 square feet (360 m 2 ) observation deck on floor 71, called "Celestial". For fifty cents visitors can transit it through a corridor with a vaulted ceiling painted with a heavenly motif and adorned with small glassy glass planets. The observatory center contains a toolbox that Walter P. Chrysler used early in his career as a mechanic; it was later preserved at the Chrysler Technology Center in Auburn Hills, Michigan. A picture of a rocket-like building hanging above it. According to a contemporary brochure view of up to 100 miles (160 km) is possible on a sunny day; but the small triangular windows from the observatory created strange angles that made it difficult to see the sad traffic. When the Empire State Building opened in 1931 with two observatories at a higher altitude, the Chrysler observatory lost its customers.
After the observatory was closed, it was used for home radio and television broadcasting equipment. Since 1986, the old observatory has placed the architectural offices of Harvey Morse and Cooperwood Interests.
Crown
The Chrysler Building is famous for, and is recognized by, the storied crown, which is an extension of the main tower. Consisting of seven storied arches radiating, Van Alen's design of the crown is a crotch crotch dome of seven concentric members with transitional setbacks, mounted one behind the other. The entire crown is coated with Nirosta steel, striped and glued in a sunburst pattern radiating with many triangular dome windows, transitioning to a segment smaller than seven narrow setbacks of the storied crown. Because of the dome's arch shape, Nirosta sheets should be measured on the site, so most of the work is done in workshops on the 67th and 75th floor of the building.
According to Robinson, "Its 'dormers', each smaller and taller than the previous one, continue the wedding cake coating from the building itself.The concept is brought forward from the 61st floor, the eagle gargoyles echoing the 31st, care to the tower peak, which extends the concept of 'higher and more narrow' to unlimited height and unlimited width.This unique treatment emphasizes the height of the building, providing another worldly atmosphere reminiscent of the fantastic architecture of Coney Island or the Far East.
Spire
Above the 71st floor, the story of the building is designed mostly for the exterior look, serves mainly as a landing to the stairs to the top of the tower and contains no office space. They are very narrow, have low and sloping roofs, and are only used for radio transmitters and other mechanical and electrical equipment. For example, the 73rd floor houses lift motors and a 15,000-gallon-US water tank (57,000 L), in which 3,500 US gallons (13,000 L) are reserved for fire fighting.
The WCBS-TV station (Channel 2) initiated transmission from the top of the Chrysler Building in 1938. The WCBS-TV transmission was diverted to the Empire State Building in 1960 in response to competition from RCA transmitters in the building. For many years WPAT-FM and WTFM (now WKTU) were also sent from the Chrysler Building, but their move to the Empire State Building in the 1970s ended commercial broadcasting of the structure.
The crown and top of the tower are illuminated by a combination of fluorescent lamps that frames the distinctive triangular windows of crowns and colored floodlights facing the building, enabling them to be illuminated in various schemes for special occasions. The "fluorescent tube" V-shaped lamp - hundreds of 40W 480V lamps framed 120 window openings - was added in 1981, although it has become part of the original design. Until 1998 the lights were turned off at 2 am, but New York Observer's columnist Ron Rosenbaum convinced Tishman Speyer to keep the lights on until 6 am. Since 2015, the Chrysler Building and other city skyscrapers have been part of the Lights Out program of the Audubon Society, turning off their lights during the bird migration season.
Chrysler Center
The Chrysler Center is the name of a building complex consisting of Chrysler Building, Chrysler Building East, and a commercial pavilion located between them, called Chrysler Trylons. In 1998, Tishman Speyer acquired the entire complex and began renovating it completely for the next two years.
The Chrysler Building annex at 666 Third Avenue, also known as Kent Building at the time, has been renovated and renamed Chrysler Building East. The International Style Building, built in 1952, is 432 feet (132 m) tall and has 32 floors. The mechanical system is modernized and the interior is modified. Famous architect Philip Johnson replaces a glass facade with darker glass and adds an extension of 135,000 square feet (12,500 m 2 ). After addition, the total area of ​​this building is 770,000 square feet (72,000 m 2 ).
Finally, a new building, which was also designed by Philip Johnson, was built between the original skyscrapers and the pavilions. It became Chrysler Trylons, a three-story commercial pavilion with a retail area of ​​22,000 square feet (2,000 m 2 ). The design, consisting of three intersecting triangular glass pyramids, was inspired by the crown window of the Chrysler Building crown triangle. The design of the building was so complex that a replica was built in Rimouski, Quebec. Johnson designed Chrysler Trylons as "a monument to 42nd Street [...] to give you the top of the Chrysler Building on the street level."
After this modification, the total area that can be compiled from the complex is 2,062,772 square feet (191,637.8 m 2 ). The total cost of this project is about one hundred million dollars. The renovation has won several awards and awards, including the Energy Star rating from the Environmental Protection Agency; LEED gold title; and Renovation of Superb Skyscraper Remodeling in 2001.
Representation and influence
Critical reception
George H. Douglas writes that the building "remains one of the most fascinating and fascinating skyscrapers". Architect Le Corbusier called the building "hot jazz in stone and steel". There is Louise Huxtable, an architectural critic, noting that the building has "beautiful, decorative, and evocative aesthetics", while other architectural critic Paul Goldberger notes "strong and compressed energy" from the lobby, the "grand" elevator, "magical" of the crown. The Landmark Preservation Commission of the city said that the tower "embodies the romantic essence of the New York City skyscraper". The Frommer travel guides gave this building an "exceptional" recommendation, with author Pauline Frommer writing, "At Chrysler Building we see a thundering version of what Alan Greenspan called 'irrational exuberance' - a last blast from the corporate headquarters building before the stocks succumbed to thudding destruction in 1929. "
As an icon
The Chrysler Building appears in several movies in New York and is widely regarded as one of the most positively recognized buildings in the city. A 1996 survey of New York architects revealed it as their favorite, and the New York Times described it in 2005 as "the most important symbol of architectural imaging in the New York skyline". In the summer of 2005, the Skyscraper Museum in Lower Manhattan asked 100 architects, builders, critics, engineers, historians, and scholars, among others to select their 10 favorites among 25 city towers. The Chrysler building is in first place, with 90% of respondents placing it on their ballots. In 2007, the building was ranked ninth among 150 buildings on the List of Favorite American Architectures .
The Chrysler building is widely heralded as an Art Deco icon. Fodor's New York City 2010 describes the building as "one of the great masterpieces of art deco" that "won many New Yorkers for the most iconic and beloved skyscrapers." Frommer states that Chrysler is "one of the most impressive Art Deco buildings ever built". The 2016 edition Insights ' suggests that the Chrysler Building is considered among the "most beautiful" buildings of the city. His distinctive profile has inspired similar skyscrapers around the world including One Liberty Place in Philadelphia and Al Kazim Towers in Dubai.
In popular culture
While seen in many films, the Chrysler House hardly ever emerges as the main setting in it, which prompted architect and writer James Sanders to insinuate him to win the "Award for the Best Supporting Skyscraper". The building was supposed to be featured in the 1933 film King Kong, but only made a cameo at the end thanks to its producers choosing the Empire State Building in a central role. The Chrysler Building mainly appears in the background The Wiz (1978); as the setting of many Q - The Winged Serpent (1982); in initial credit The Shadow of the Witness (1987); and during or after apocalyptic events on Independence Day (1996), Armageddon (1998), In-Depth Impact (1998), and A.I. Artificial Intelligence (2001). The building also appears in other films, such as Spider-Man (2002), Fantastic Four: Rise of the Silver Surfer (2007), Two Weeks Notice (2002), and Men in Black 3 (2012).
The Chrysler building is often the subject of photographers. In December 1929, Walter Chrysler hired the famous Margaret Bourke-White to immortalize it for publicity purposes. He took a picture of a 400-foot-high scaffold and worked in a ground-floor studio until he was evicted in 1934. According to one account, Bourke-White wanted to stay in the building for the duration of shooting photos, but the only one who could doing so is a janitor, so he's even degraded into co-leasing studio with Time Inc. In 1930, some of his photographs were used in a special report on the skyscraper at the then-new Fortune magazine. In 1934, Bourke-White's colleague Oscar Graubner took a famous photo named "Margaret Bourke-White on top of the Chrysler Building", which depicted him taking a photograph of the city skyline while sitting in one of the 61st floor eagle ornaments. On October 5, 1998, Christie auctioned the photo was for $ 96,000. In addition, during the January 1931 dance organized by the Society of Beaux-Arts, six architects, including Van Alen, were photographed while wearing a building-like costume designed by every architect.
The building is also mentioned in the lyrics of several songs, as well as in the number "It's the Hard Knock Life" for the musical Annie .
Renters
The Chrysler Corporation moved into the building as a major tenant in 1930, using its space as division headquarters until the 1950s. Time, Inc. and Texaco oil are also original tenants. Requires more office space, Time moved to Rockefeller Center in 1937. Texaco moved to Purchase, New York in 1977 for a suburban workplace.
The leading modern tenants include:
- Creative Artist Agent
- Empty Roma
- Clyde & amp; Co
- InterMedia Partners
- Regus
- Troutman Sanders
- Suspend
- YES Network
See also
- New York City Architecture
- List of buildings and structures
- New York City Landmarks List
- List of the world's tallest buildings and structures
- List of tallest buildings in the United States
- List of tallest buildings in New York City
- List of the highest freestanding structures in the world
- List of Historic National Historic Sites in New York County, New York
References
Note
Quote
Bibliography
Further reading
External links
- Teyman Speyer's official website
Source of the article : Wikipedia
0 Comments